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Adjustments discussion. Viranchyasana A and B, at home and in Pattabhi Jois Led Advanced series.

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This is lifted from my fb post yesterday.

Viranchyasana A

Nice question from my dear friend Lucia on adjustments and if they are necessary HERE at the Ashtanga Discussion fb page. My first thought, practicing almost exclusively at home alone for eight years was Nope. But on reflection.....

Best adjustment I received was from Kristina Karitinou, it was one in thinking, or at least in perception of what a shala was or can be and what should be practiced there, if not necessary it was perhaps overdue .

My back was playing up from moving house a couple of weeks before arriving at Kristina's summer shala in Rethymno for a couple of months around Manju's TT. After a couple of Sury's I decided that I wasn't going to make it through an Ashtanga practice with any benefit so quietly rolled up my mat and started to slink out to do a Vinyasa Krama practice at home. Kristina stopped me at the back of the shala, told me this was Yoga Chikitsa, therapy, and sent me back to do MY practice ( ie whatever felt beneficial). Roomful of Ashtangi's and my Vinyasa Krama practice up there at the frount.

Come to think of it, my second and third best adjustments were also from Kristina when she pointed out that Bharadvajrasana and Gomukhasana weren't rest postures.

It's personal choice. Coming from home practice I did without them and prefer to politely decline them as well to decline to give them but each to their own, it's clear from the Ashtanga Discussion thread that many find them beneficial as well as enjoyable.

Always good to see Kristina work, craft is always inspiring to observe whether we choose to partake in it or not and I have wonderful memories of sitting on the steps of her shala discussing this very topic with her late into the night.

On Manju's TT I found him offering more support than adjustment, allowing us to do the work ourselves, to enter a posture rather than taking us there himself.

After reading comments on this fb post this morning I decided to type 'adjustments' into theYoutube search box.

*

This video came up of the Pattabhi Jois' led Advanced A posted by one of the participants,  Clifford Sweatte on his webpage, Prana Airways ( this one is split into parts , the full version is posted at the end of the blog).

It begins with a Viranchasana and gives an idea I think of 'Adjustments/assists' in the Pattabhi Jois Ashtanga tradition right from the start although I read somewhere that Nancy Gilgoff claimed David Williams didn't receive any assists from Pattabhi Jois on those first trips (source?).

No judgement pr criticism is intended here by posting this, I haven't received enough hands on Adjustments to fairly comment although some I have had by trainees and relatively new Ashtanga teachers have been brutal and terrifying. Also I should note that on visiting a shala twice in my first/second year of practice i received two adjustments from the shala assistant that were quite wonderful and beneficial. One showing me that i could go deeper than I thought into marichiyasana D and the the other taking me further 'back' over my arms in urdhva danhurasana.

I've also heard that Sharath, rarely adjusts, see the Ashtanga discussion thread linked to above.

The pattabhi Jois led  reminded me of my own Viranchasana video, practiced at home. If I have anythng to offer to this debate at all it's that I progressed to advanced series ( both A and B ) alone at home without any assists and without any injuries. It's also worth pointing out that I didn't begin Ashtanga, lithe, fit and flexible already  but was mid 40s, overweight and could barely reach below my knees. My Viranchyasana below is from two years after beginning practice.

I'm adding a video of my first couple of months attempting to practice Ashtanga to the end of the post to give an idea of the condition I was in when i started, perhaps I was lucky to get away without injuring myself and could have benefited form a shala in that first year, I'll leave you to decide.



....and then here practicing Viranchyasana myself at home. ( see THIS post )




These days I have little interest in Advanced postures and have 'lost' most of them, or at least tend to think that the postures of Primary series are sufficient and can be 'Advanced' or rather proficient with good breath focus, long slow breathing, kumbhaka's perhaps, long stays.....


The full Pattabhi Jois Advanced A series video with 'assists'.





More on Krishnamacharya's breath, two students 30 years apart, Indra Devi 1930s and Yyvonne Millerand 1960s

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Thank you to Enrique for sending through these pages from two of Krishnamacharya's students thirty years apart, Indra Devi in the 1930s and Yyvonne Millerand in the 1960s. Also, two pages from Krishnamacharya's son TKV Desikachar's book 'Heart of Yoga'.
The selection is followed by Simon Borg-Olivier discussion of the benefits of abdominal breathing from his book Applied Anatomy and Physiology of Yoga http://anatomy.yogasynergy.com/book


The selections relate to my earlier post on Krishnamacharya's explicit instruction for the breath in Yogasanagalu (1941)

Friday, 6 March 2015
The breath: Simon Borg-Olivier made me fall in love with asana all over again.

In that post we looked at the explicit instructions for the breath given by krishnamacharya in his early Mysore work Yogasanagalu (1941)


from Krishnamacharya's Yogasanagalu

1. In yoganga sadhana we don’t see these (above mentioned) irregularities and with regular practice all organs will become strong.  How is that?  When practicing asanas, we need to maintain deep inhalation and exhalation to normalise the uneven respiration through nasal passages.

 2. In yoga positions where eyes, head and forehead are raised, inhalation must be performed slowly through the nostrils until the lungs are filled.  Then the chest is pushed forward and puffed up, abdomen tightly tucked in, focusing the eyes on the tip of the nose, and straighten the back bones tightly as much as possible.  This type of inhalation which fills the lungs signifies Puraka.

3. In yoga positions where eyes, head, forehead, chest and the hip are lowered, we have to slowly exhale the filled air.  Tucking in tightly the upper abdomen, the eyes must be closed.  This type of exhalation is called Rechaka.

4. Holding the breath is called Kumbhaka.


On reading those instructions Enrique was reminded of some of the instructions for the breath found in several of Krishnamacharya's students, Indra Devi, Yvonne Millerand and also those found in TKV Desikachar's Heart of Yoga. 

It's important to remember that although indra Devi and YYvonne Millerand  were Krishnamacharya's students their writing and own instructions for the breath may well be influenced by later teachers. however One thing we do find in all these descriptions is the employment of kumbhaka (breath retention). Kumbhaka in asana is very much a feature of Krishnamacharya's early Mysore writing and may suggest that the instructions given do closely resemble those instructions given by Krishnsmacharya while they were studying with him.

In the notes section at the end of the post I've included the selection on the benefits of abdominal breathing from Simon Borg-Olivier's Book that I'm currently exploring and trying to square with Krishnamacharya's own Yogasanagalu instructions



The first two selections Enrique passed along are from Indra Devi's 'Yoga For You'.


Indra Devi famously studied with Krishnamacharya  for a short period in the 1930s, is this how Krishnamacharya taught her to breath or an approach she embraced later based on other sources.

An earlier post on Indria Devi which includes 'In the shala', a chapter from one of her books on her experience studying with Krishnamacharya.

Friday, 8 November 2013
Photo: Indra Devi teaching Marilyn Monroe Yoga 1960 ALSO Indra Devi in Mysore








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The second two pages are from are from an Italian edition of Yvonne's Millerand Guide pratique de HathaYoga. 

Including  a much appreciated translation from the Italian by Chiara Ghiron 




Thank you to Chiara Ghiron  for the speedy translation below


First picture

Same working position: laying on the back, with bent legs, feet on the floor.

Rest your fingers on the top of your chest; elbows and shoulders rest on the floor, relaxed.

Having inhaled into the thoracic cage, we exhale relaxing until a respiratory equilibrium and then continue the exhale by 'blowing' tthanks to contraction of the abdominal muscles.

Retention with empty lungs: during this retention, gradually release abdominal contraction.

1. Inhalation: the top part of the thoracic cage lifts gently as air gets in. After the top part of the lungs have filled, the middle part also expands, then ribs remain relaxed or floating. Towards the end, a gentle expansion of the abdominal area is perceived, due to completion of diaphragmatic contraction, expansion and lowering, to ensure maximal room to the entering air

2. Retention: short, with no movement whatsoever

3. Exhalation: attention is directed to the abdomen. From the start of the exhalation, the abdomen wall flattens and gradually gets closer to the back wall with a slow voluntary action that allows dosage of rate and amount of exhaled air

4. Retention: short. The abdominal wall is kept contracted for a few seconds then released, to allow for the following inhalation that restarts movement in the thoracic cage




Thank you to Chiara Ghiron for the speedy translation below

Mechanical deep breathing exercise

- Seated, with straight, slightly open, legs, rest on the straight arms behind the back, hands on the floor. Inhale into the thoracic cage.

- Exhalation is helped by movement. While keeping exhaling, the body curls, the head lowers towards the sternum, ribs contract, the back bends sustained by the arms. The maximal air volume is expelled when the abdominal muscles contract by squeezing the internal organs: 'you blow'

- Retention: observe the abdominal surface below the midline, perceiving the tonic contraction of the abdominal muscles under the elastic skin; it is an effort which is very precisely located. With empty lungs and no other movement, this contraction is gently released and the lower abdomen rounds up a little

- Inhalation: making lever on the arms, the upper part of the spin lifts to start inhalation, opening the shoulders which move away from each other, raising the sternum. Air enters with an uninterrupted flux in a totally natural way into the top of the lungs, then into their middle portion as the thoracic cage expands and the back stretches. Lastly, the head lifts and bends backwards slowly. Resting on the arms allows for the abdominal muscles to become completely relaxed; the belly rounds up under the expanded ribs, which is a sign that the diaphragm has lowered and the inhalation has happened from top to bottom

- Retention without movement for a few seconds; exhalation is then guided again by movement of the body

This exercise will be repeated at the beginning of each class to ventilate the lungs and verify the tone of the abdominal muscles. They need to be able to contract to ensure exhalation and relax to allow lowering of the diaphragm at the end of the inhalation.

*

Two pages on breathing from Krishnamacharya's son TKV Desikachar's 1999 book 
'Heart of Yoga'






NOTES

My earlier notes from Simon Bog-Olivier and another selection from Yyvonne Millerand

This section from Simon and Bianca's's book gives us lots to think about and work with perhaps as well as their concepts of related ha and tha bandhas..

"8.2.8.3 Abdominal and thoracic breathing
Abdominal breathing and thoracic breathing are terms sometimes used by people who teach breathing to indicate where on the body an expansion of the trunk should occur reÀecting the primary activation of either the diaphragm (abdominal breathing) or the intercostal muscles (thoracic breathing). It is incorrect to think that air is actually coming into the abdomen during abdominal breathing. In both types of breathing, the air will only go into the lungs.

Abdominal breathing is seen as an outward movement of the abdomen on inhalation and an inward movement of the abdomen on exhalation. Abdominal breathing mainly uses the diaphragm muscle, which moves downwards (distally) as it generates tension. If the abdomen is relaxed, pressure from the diaphragm will move the abdominal contents downwards (distally) and also outwards (anteriorly).

Thoracic breathing is seen as an outward and upward movement of the rib cage on inhalation and an inward and downward movement of the rib cage and chest wall on exhalation. Thoracic breathing mainly uses the intercostal muscles.

Intercostal muscle expansion of the rib cage and chest wall in thoracic breathing is essentially the same as the muscular activation used in the yogic internal lock uddiyana bandha [Section 7.4.1.3]". p227

8.4.3 The Effects of Breathing Rate on Various Body Systems
Some types of pranayama (yogic breathing exercises) require slow breathing that ¿lls and empties the entire lungs. This is sometimes referred to by other authors as complete breathing. Complete breathing requires full use of the diaphragm, the thoracic intercostal muscles and the abdominal muscles:

• The diaphragm [Table 7.4] is the main muscle used in what is referred to as abdominal breathing [Section 8.2.8]. On inhalation the abdomen gets larger as the diaphragm is activated (tenses and shortens), and on exhalation the abdomen gets smaller as the diaphragm relaxes (lengthens) and returns to its original position.

• The thoracic intercostal muscles (intercostals) [Table 7.4] are used in what is referred to as thoracic breathing [Section 8.2.8]. On inhalation the thorax (chest and upper back) gets larger as the intercostals are activated (tensing and shortening), and on exhalation the thorax gets smaller as the intercostals relax (lengthen) and return to their original position.

• The abdominal muscles [Table 7.4] are used to make a forced exhalation or a complete exhalation. 
By maintaining the grip (tension and shortness) of the abdominal muscles after the exhalation it makes it easier to expand the chest on a subsequent inhalation.

Many people have dif¿culty breathing with both the diaphragm and the intercostal muscles and are unable to expand their thorax unless they breathe quite forcefully with relatively fast and deep breathing [Table 8.1]. Fast, deep breathing forces the abdominal muscles to become activated (tense) to get the air out quickly and fully and, since the abdominal muscles have no time to relax after the exhalation, the subsequent inhalation is done with the abdomen ¿rm, thus forcing the thorax (chest and upper back) to expand.

Similarly, there are many people who can not easily relax their abdomen. Their abdominal muscles hold so much tension that these people are unable to breathe into their abdomen, and are hardly able to use their diaphragm at all, unless they spend time focusing on relaxation and slower breathing [Table 8.1]. These people tend to be doing mainly thoracic breathing while doing any physical activity.

In terms of the bandhas, the complete inhalation, i.e. the maximum possible inhalation, can be done with a tha-uddiyana bandha (chest expansion) followed and supplemented by a tha-mula bandha (abdominal expansion), while the maximum possible exhalation can be done with a ha-mula bandha (abdominal contraction) followed and supplemented by a ha-uddiyana bandha (chest contraction).

Table 8.1 compares the effects of two extreme types of breathing (fast deep breathing compared to slow shallow or tidal breathing) on the various body systems. These are only two of the many breathing possibilities that exist and each have varying effects. There is no such thing as right or wrong breathing but one must use the type of breathing that is appropriate for the situation.

Both the thoracic breathing and abdominal breathing confer possible bene¿ts and disadvantages. Ideal yogic breathing is a combination of the most advantageous aspects of both fast, deep breathing and slow, shallow breathing [Table 8.1]. In ideal yogic breathing, the three central bandhas (jalandhara, uddiyana, and mula) [Section 7.4.1] are held throughout the breath cycle. To initially learn to maintain a grip on the three bandhas, the thorax should be kept expanded (tha-uddiyana bandha) throughout the breath cycle as it would be during thoracic breathing inhalation; the lower abdomen should be kept ¿rm and drawn inwards (ha-mula bandha), as in a forced exhalation; while the back of the neck is kept long and the chin kept slightly down and inwards (ha-jalandhara bandha) [Section 7.4.1].
In optimal yogic breathing, slow relaxed diaphragmatic breathing is used to respire only a small amount of air per minute, but with the chest and abdomen held in such a way that only a small volume of air is needed to ¿ll and then empty the lung. In the most advanced stages of pranayama the key emphasis should be not on increasing lung volume from breath to breath but rather on increasing the pressure in the chest with each inhale without increasing the volume. p238

Applied Anatomy and Physiology of Yoga http://anatomy.yogasynergy.com/book

Update 2


"I arrived just in time. Giving me a few lessons a week, he started with a simple asana practice. I was to establish a link between breath and movement. Breathing should be controlled hand movements, slower breathing, the slower the movement. Each asana followed repeated at least four times. After one hour lesson in a sitting position, I learned the sound Udzhdzhayi and be able to distinguish it from the nasal sound. He allowed me to begin the simplest Pranayama - Udzhdzhayi Anuloma and Udzhdzhayi Viloma.

Krishnamacharya used to tell me, "lift up your chest," for the fact that, due to the rise of my chest, I could fill the air flow based on my lungs. After that, he insisted on the exhale with the abdominal muscles and the perineum. Breathe in and out - of course, but with the insertion of pauses, everything changes. Coached control is felt as an affirmation of life and gives a sense of a better life, by controlling breathing and blood circulation, which are interrelated. This is what I felt.



Krishnamacharya's Mahavedha (lotus lifted, spun, dropped). plus Notes to Self: In defence of asana practice - Also

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Krishnamacharya at 50, even in his later years Krishnamacharya was supposedly practicing up to three hours of asana a day, he never lost faith in asana it seems even practicing it in his hospital be in his 90s after a fall and broken hip.
Here he is in a rare scent from the 1938 Mysore footage practicing what seems to be Maha Vedha, padmasana taken further  and lifted utpluthi but then further still and practiced as a mudra, mahabandha, and finally as kriya -see video at end of post.

Krishnamacharya practicing Mahavedha ( padmasana/lotus lifted, spun, dropped).
See this earlier post 




from the 1938 Mysore footage.

When I first saw this clip it reminded me of some of the Tibetan yoga practices, where for example a monk drops from standing and lands in padmasana (full lotus), the idea seeming to be to shock the kundalini into the sushumna.

However, on looking again at Hatha yoga pradipka, this dropping of the lotus seems to be Krishnamacharya's take perhaps on mahavedha... see below and blog post http://tinyurl.com/mmvxqvz

Either way it's curious, a very deliberate practice, something.... old about it. The lifting and dropping might be something you might try on a reading of HYP but the spinning? It suggests to me a learned practice especially the emphasised looking up at the end of each drop.Facinating.

from Hatha Yoga Pradipka

"The mahâ Vedha अथ भहावधे ् 
भहाफन्धश्चस्थतोमोगीकॄत्वाऩयूकभके धी्। वामनू ाॊ गश्चतभावॄत्य श्चनबतॄ ॊ कण्िभद्रु मा ॥२६॥ 
Atha mahāvedhah 
Mahābandhasthito yogī krtvā pūrakamekadhīh Vāyūnām ghatimāvrtya nibhrtam kanthamudrayā 

Sitting with mahâ Bandha, the Yogî should fill in the air and keep his mind collected. The movements of the Vâyus (Prâna and Apâna) should be stopped by closing the throat.) 

सभहस्तमगुोबभूौश्चस्फचौसतॊािमच्छे न्ै।
ऩ टु द्व म भ श्च त ि म्य व ा म ् ु स्फ ु य श्च त भ ध्य ग ् ॥ २ ७ ॥ 
Samahastayugho bhūmau sphichau sanādayechchanaih Putadvayamatikramya vāyuh sphurati madhyaghah 

Resting both the hands equally on the ground, he should raise himself a little and strike his buttocks against the ground gently. The air, leaving both the passages namely Idâ and Pingalâ, starts into the middle one".

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More Notes to Self
In defence of asana




Often we begin with asana,

If we practice regularly, at the same time, in the same place, it becomes routine.

Routine is the mother of discipline.

When a discipline brings us joy it can lead to devotion.

We become devoted to the practice.

When something so simple as stepping on the mat to breathe each morning gains importance in our lives we might find other more worldly objects of desire lose some of their import, our attachment to the world may be loosened.

Yoga philosophy suggests that the self is a construction of the mind, reenforced, maintained even by our attachment to the world of the senses.

Through our devotion to our asana practice then, our attachment to worldly things can be loosened, the construction of the self weakened.

In this sense asana can be considered preparation, tapas, an austerity.

Devotion along with surrender are considered two of the highest concepts in Yoga philosophy, Bhakti yoga.

The practice of asana may be considered a suitable preparation for yoga practice but is it a suitable object of devotion.

Asana practice, when an object of devotion can loosen our attachment to the objects of the senses, to our attachment to the world and thus can weaken the maintenance of the the mind constructed self.

As an object of devotion it is not merely preparation for yoga but the first steps along the path.

The path of yoga is intended to be one of self-realisation, that the world may not be as it appears, that my sense of self may not be what I assumed to be, what I believed.

The yoga path is to be one of knowledge, of greater understanding, of truth perhaps, all surely suitable objects of devotion.

As we deepen our practice through the other limbs, the weakened self may crumble, dissolve, what we believed to be our self melts away. Is there anything that remains?

Commitment to this practice is choosing to offer up our current understanding of self, an act of surrender as enquiry.

Yoga philosophy traditionally argues that Purusha  remains, 'awareness', (an instance of universal awareness), Atman, Brahman, some use the expression the Lord, still others God.

Love is often described as seeking to know, rather than to project, to experience, to become joined to..., one with...., to be indivisible from... that which we love.

*'Love can be bhakti for us', love of knowledge, for the path of knowledge where ever it leads... to purusha or perhaps the absence of purusha, to god or to the absence of god.

Yoga is knowledge as radical enquiry and as such is not predetermined, there are signs along the way offered by those who have gone ahead but destination(s) only hinted at.

Devotion to the practice of asana may be the first step along the path of yoga, a path that may lead to self- realisation, knowledge, experience of......



****


Krishnamacharya was supposedly once asked, 

What is bhakti for those who do not believe in God, 

he answered, 

'Love is bhakti for them'. 

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An interview with Krishnamacharya's 3rd son T. K. Sribhashyam

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"In the late sixties, when I went with my father (T. Krishnamacharya) on a pilgrimage to Allahabad, Varanasi and Gaya, he took me to Bodh Gaya for two consecutive days. It is here that he gave some important points of Buddha’s teaching, as also their method of Dhyāna, particularly their very significant mantra: Buddham Sharanam Gachami, Dhammam (Dharmam) Sharanam Gachami, Samgham Sharnam Gachami. I remember some elderly monks saluting him and expressing their happiness at meeting him. They sat in a corner in the Buddha’s temple and had more than an hour’s discussion. The meeting was completed by a silent meditation. Later, my father told me that they were his colleagues when he studied Buddhism".


The Threefold Refuge

Buddham saranam gacchami
I go to the Buddha for refuge.
Dhammam saranam gacchami
I go to the Dhamma (the teachings) for refuge.
Sangham saranam gacchami
I go to the Sangha (the 'enlightened' community) for refuge.

You may have seen my earlier posts on T. K. Sribhashyam's book Emergence of Yoga as well as those on the Krishnamacharya documentary Breath of Gods with which he was closely involved.


T.K. Sribashyam's works, as well as a chance introduction to his teaching by one of has his students, has had a transformational effect on my own practice. I described it in an earlier post as applied Vinyasa Krama, a fully integrated Yoga practice incorporating each of the limbs. I've also mentioned recently that I see no distinction between my Ashtanga and Vinyasa Krama practice, they are compatible, all Krishnamacharya's teaching, and rather than suggesting TK Sribashyam's work compliments my practice I would argue that it enriches and deepens it still further.

In this post I've lifted extended quotes from T. K. Sribhashyam recent interview with Harmony Yoga (see my previous posts on his book Emergence of Yoga listed at the end of the post). It's hoped that these quotes will give enough of the flavour of this marvellous interview to encourage readers to read the complete interview and full answers to these questions, here
http://www.harmonyyoga.co.uk/an-interview-with-t-k-sribhashyam/


An interview with T. K. Sribhashyam

1/ “Emergence of Yoga” is an exceptional support either for novices, beginner students, advanced students as well as Yoga teachers. Was it a deliberate choice to touch such a large public when you decided to write this book?

...I realised that many publications give images of Āsanas and techniques, but omit to give indications to teachers. This may be because in the early days of Yoga, the writers did not think that such a detailed study was needed. So, Yoga learning and teaching became a sort of ‘imitation’.
Yoga is mainly based upon the language of Indian medicine, Ayurveda. Consequently, when we talk about the effects, they need to be converted to modern medical language, even if this language is known to us. Both a novice as well as a specialised person would understand better the importance of Yoga if the effects of Āsanas are deciphered into today’s physiological terms and concepts.

...Similarly, traditional Yoga practice is sterile without concentration (Dhāraṇa) and holding of breath (Kumbhaka). Even if we have many books on Yoga, little is said about Concentration. Since, in traditional Yoga teaching, Concentration in Asana is specific to the Asana, I applied my father’s teaching to indicate the concentration points advised to each Asana.

...These are some of the reasons why I worked on Emergence of Yoga, to make it open to a large public without limiting it to the Yoga’s students.

2/ Is it something that comes from your father and master, T.Krishnamacharya’s, teaching?

...My father and only my father transmitted Yoga to me. I have been faithful to his teaching. The language of transmission is different, but the spirit and truth of his teaching are not betrayed. I have been careful in preserving his teaching on such a precious science that Yoga is.

3/ How did your father/master T.Krishnamacharya transmit his knowledge to you?

...My father and my master transmitted his knowledge through oral tradition. Without entering into details, I would say that we had daily (my brothers and sisters) or weekly theory classes depending on our academic activities. These ‘lessons’, as he called them, covered not only Yoga, but also Upanishads, Darśana, etc. Many Upanishads, like Yoga Sutra were taught under many cycles. For example, when he completed his lessons on Yoga Sutra (the four chapters), he would restart with more explanations, comparisons, analysis, etc. Similarly, with the works on Hatha Yoga, Darśana, and so on. As such we had a sort of continuous teaching of almost all the subjects, he transmitted to us. The sessions were in Tamil or Kannada, two of our South Indian languages. We could take notes in the language we wished. The duration of lessons varied from just forty-five minutes to two hours. As we were young, he would give short lessons when the topic was difficult. 

4/ Do you think that nowadays it is still the best way to share this knowledge?

5/ Is that the reason why you did not publish any book until now?

...He (Krishnamacharya) was very particular that I provide to the readers the Vedic origin of Yoga, even if no one brought to light this aspect. Similarly, he wanted me to bring to light the link between Āsanas and Dhāraṇa (Concentration)... This might be the main reason I decided to write this book “Emergence of Yoga” in my advanced age.

6/ What do you think is the most important thing that your father and master Krishnamacharya taught you?

7/ What is the most important thing that you would like to share with Yoga students?

...I would like to share the simplicity and love with which my father taught Yoga and Indian philosophy to all, keeping away all the science of logic and analysis from student’s mind. I am lucky in putting into practice these principles and that many of my students follow them, even if they have difficulties in applying them in their lives.
In a way, as he used to say: to be able to share the knowledge as though it would be for children who have not yet mastered the language. So too, the Yoga practice: teach with love, respect and tenderness.

8/ What do you think is the most difficult thing to teach (to pass down) to Western students?

9/ After so many years of teaching what would be the major advice that you would like to offer Yoga students?

...While maintaining their interest in the physical aspects of Yoga (especially Āsanas), I would also advise them to reverse the trend progressively, give added importance to Prāṇāyāma (not as a physical exercise), Dhāraṇa and Dhyāna, which would definitely help them cultivate peace, serenity, compassion, forgiveness and a peaceful death. As you all know, our fear of death is so intense that to learn and maintain the phase of a peaceful death is one of the invaluable treasures that we can easily build in our life and preciously safeguard it not only at the end of our life, but transmit it to our family members before our departure.
This reminds me of the father’s lessons on the concept of death: You may offer all your treasures to your children that would disappear like used clothes, but teaching them to love and accept death is the best heritage that you can offer to them. They would one day; the day they leave this mortal world, silently recognise and be grateful to you, those who witness such a peaceful departure, that is to say, family, friends, unknown people, would recognise the priceless peace emanating from your body and face. This is one of the main aims of Yoga.
I would say that this would be my major advice to those who teach and practice Yoga. Is it an advice or a duty?
Like my father, I am convinced that Westerners would not discard this unique opportunity.

10) Your other three books cover Indian Philosophy, including the tradition of your Family, please could you say what motivated you to write these books?

...Without discrediting western philosophy and its religious thoughts, I would say that Indian philosophy has a unique way of bringing its teaching in the format of images, which touches the mind and the heart of any reader or student, even if he or she is new to Indian cultural background. It is just like any infant creating images in his way from a story that he is listening to from the mouth of his mother or father, without even knowing the main personalities. The infant creates the images in his or her way and lives and enjoys the context.
By continuous listening, these images get encrusted in him or her and later when he or she is made to believe that all these stories narrated do have a sense, he or she will invoke the imprints of his experience of the stories he or she listened to and remembers the ambience of early listening. So too, the secret of Indian philosophical teaching: it offers us its teaching through innumerable stories, examples and analogies, without any dogma or bias. The students find that these teachings have a genuine universal value and try to apply any them in their lives.
The particularity of Indian Philosophy is to develop Peace and Bliss in us. It has kept apart or even rejected all sorts of conflicts, hatred or misunderstandings, because it knows that they are opposed to Peace and Bliss, and introduced the principle of tolerance to a high degree.
For reasons outside our scope, these two invaluable treasures escaped the western philosophy and its religions. There is more room for conflicts, fighting to establish one’s ego, loss of the real values of Peace and Bliss, refusal of the divine nature (as the Bhagavad Gita says, loss in the divine riches and gain of human, and demoniac supremacy), and attraction and attachments to material comforts. In spite of being aware that they are not permanent, that they feed constantly our greed, anger, hatred, infatuation, passion and so on, we continue to be anchored in them. However, the western mind did not lose its intrinsic search for Peace and Bliss. In fact, every westerner in his own way, feels that he or she is not at ease with himself or herself and that something is hindering the comfortable feeling in him or her. Sadly, this phenomenon is on the rise.


11) You mentioned in the Life Sketch of your Father that he mastered Buddhist Yoga in Burma. Would you be able to tell us more about this and what influence this had on your father’s teaching?

My father’s teaching of Indian Philosophy (Yoga Sutra, Vedanta, and even Hatha Yoga) had very often comparisons to the Buddhists thoughts – either to make us understand the flaws that existed in the Buddhist logic and analysis or to bring to light some similar views, especially in the psychology of Buddhism, so that we develop conviction in the Buddha’s teaching.
Apart from this, he used to receive Buddhist monks who would have long discussions with him on this philosophy. As often it was a private discussion, we did not dare to attend these lessons.
In the late sixties, when I went with my father on a pilgrimage to Allahabad, Varanasi and Gaya, he took me to Bodh Gaya for two consecutive days. It is here that he gave some important points of Buddha’s teaching, as also their method of Dhyāna, particularly their very significant mantra: Buddham Sharanam Gachami, Dhammam (Dharmam) Sharanam Gachami, Samgham Sharnam Gachami. I remember some elderly monks saluting him and expressing their happiness at meeting him. They sat in a corner in the Buddha’s temple and had more than an hour’s discussion. The meeting was completed by a silent meditation. Later, my father told me that they were his colleagues when he studied Buddhism. He taught me the technique and practice of Pranayama applied by the Buddhists and subtle differences between Hinduism and Buddhism. However, he was not criticising Buddhism in his lectures. My father had great respect for Buddha’s teaching.
We should not forget that Buddha is considered as one of the incarnations of Vishnu.
A successful Vedic ritual or even a meditation requires a healthy body and mind so that we can stay during the rituals and in a meditation for a longer period without getting disturbances from the senses and the mind.

12) It seems that westerners are generally interested in Yoga for its health benefits. In your experience, do you see much interest in their inquiry of the soul?

...Yes, despite this concentrated effect on the body, it is possible for westerners to take an interest in the spiritual aspects, since Yoga does not impose any dogmatic devotion or a spiritual practice which gives rise to fear or guilt in them. Its teaching is open to all irrespective of their religious convictions and beliefs. If we observe today’s interest in Yoga, you will find that more and more students take to Yoga lessons to cultivate and nourish mental peace and search of the inner peace. What was a shy approach in the west in the seventies is quite an open and much desired subject.
Now, it is for the teachers to provide them with the means to feed their desire to know, search and develop their inner peace, whatever name that would be given. As we say in India, God is one, but has many names. Similarly, the inner peace is one, unique, but it might be called with different names, just as one object can have many names according to the language used.

13) How is it possible to transmit the concept of Moksha to students unfamiliar with this?

14) Practicing Yoga in a group class has become prominent in the West; personal practice at home is less common. Can you say something about this in the light of your father’s approach to teaching?

In Mysore Yoga Shala, my father’s lessons were in groups. Very few had individual lessons. At home, he gave some private lessons to students and to his children. Owing to our school timing, even we, his children, had group classes with our sisters and our mother. Some of the members of the royal family, especially the women members, had private sessions.
When he moved to Madras (Chennai), he had mainly individual sessions, as he was invited to heal some important personalities. At home, owing to lack of space, the groups were limited to two or three people of the same family. Later, when, his children started teaching Yoga, we had to give our lessons in the available space. Naturally, we gave individual classes. However, when my father started teaching Yoga in Vivekananda College or in other educations institutions, the sessions were in groups.

...Here in the West, the individual practice is almost a fight against solitariness and its inconveniences, which you do not feel in a group session. You feel that a group stimulates your practice. However, I have realised that many participants allot some time for their personal practice at home.

15) Your father helped many people with his healing knowledge and abilities. How important do you think it is to understand Ayurvedic principles when applying Yoga as a therapy?

...Yes, my father was an Ayurvedic master and; he helped the needy to live a healthy life. He had the knowledge and the clinical competence. He did not learn Ayurveda as a ‘book knowledge’ juggling with words, but was a clinical medical doctor applying his talents while respecting the patient’s privacy, decency and humility.
A serious study of Yogic traditional texts, be it the famous books on Hatha Yoga (Hatha Yoga Pradīpika, Gherunda Saṁhitā, Shiva Saṁhitā, etc., the Patañjali Yoga Sutra or the Upanishads concerned with Yoga) would make us realise that the principle and practice of the science of Ayurveda in their traditional scientific way are referred to. Naturally, study of these works or the commentaries make us understand that anyone who studies them has to learn and understand first the scientific background of Ayurveda. Unfortunately, it might not be the case in today’s Yoga education, which has become a subject that can be learnt like a tourist visiting a country, sitting in an open-air bus taking photos or videos with an iPad and returning home to pretend his or her knowledge about the country.

...It is not only important, but essential, to understand the Ayurvedic principles if we want to apply the interrelated therapeutic means of the two systems to the students who are in need.

16) In Emergence of Yoga, asana, pranayama and mudra are presented in detail. I see no mention of the three bandhas. Please could you explain why they are not included?

You are right; my book Emergence of Yoga details Asanas, Pranayamas and Mudras, but very little on Bandha. I know that many yoga practitioners and teachers are attracted by Bandhas. Yet, I abstained from introducing this chapter, mainly because, they do not belong to the traditional teaching of Yajnavalkya. He gives a passing reference to them, not as a ‘physical knot’, but as a way to control our emotional spring of actions. Writing about them would have led to more confusion and conflict among the readers and made the book ‘heavier’. I did not detail Mudras in my book, as I was very particular about the volume at the time of writing, and I had the desire to write a second part on Mudra, Bandha and Dhyana. Moreover, the concepts of Bandha that you talk of are very recent – the period of Hatha Yoga and not that of Veda.
My father did teach us the three (the five) Bandhas; we practiced, but they were not in our programme of teaching, except Jihva Bandha in Shitali, Mula Mandha and Uddiyana Bandha in Mudras. So you see, it is not the method in other schools.
It is not always a muscular ‘knot’. It also means the hold of the anarchic activities of our emotions. Bandha, to hold also in a way, holding back the unnecessary activities of the sense perception or emotions. So, you have Indriya Bandha, Krodha Bandha, etc.; very rarely used in the usual yoga books that interpret Bandha as a muscular knot and give much importance to it. I do not say that they do not exist, but that is not the main aim of Bandha in the traditional Yoga.
Since all our human emotions reside and emanate from Mula (the region of Mula Kanda), Mula Bandha originally meant withholding unneeded emotional activities (activities that keep us away from God.



Read the complete interview and full answers to these questions, here


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My earlier posts relating to T. K. Sribashyam






Krishnamacharya's own asana and pranayama practice Plus Krishnamacharya's Life saving practice.


Asana as Mudra as dharana- 'Krishnamacharya's own practice'


On Bandhas : Hey yogi, Them bandhas aint just for floatin' - Yoga Korunta

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'Hey yogi, them bandhas ain't just for floatin' 
Yoga Korunta*


In the interview with Krishnamacharya's third son T. K Sribashyam, that I posted extended selections from yesterday, there was a question on the bandhas. In his answer T. K. Sribashyam made a distinction between vedic and hatha yoga. In Hatha the bandhas are the muscular/physical locks we are familiar with but in in Vedic yoga (Yajnavalkya) the bandhas are supposedly more to do with emotional restraints.

16) In Emergence of Yoga, asana, pranayama and mudra are presented in detail. I see no mention of the three bandhas. Please could you explain why they are not included?

You are right; my book Emergence of Yoga details Asanas, Pranayamas and Mudras, but very little on Bandha. I know that many yoga practitioners and teachers are attracted by Bandhas. Yet, I abstained from introducing this chapter, mainly because, they do not belong to the traditional teaching of Yajnavalkya. He gives a passing reference to them, not as a ‘physical knot’, but as a way to control our emotional spring of actions. Writing about them would have led to more confusion and conflict among the readers and made the book ‘heavier’. I did not detail Mudras in my book, as I was very particular about the volume at the time of writing, and I had the desire to write a second part on Mudra, Bandha and Dhyana. Moreover, the concepts of Bandha that you talk of are very recent – the period of Hatha Yoga and not that of Veda.
My father did teach us the three (the five) Bandhas; we practiced, but they were not in our programme of teaching, except Jihva Bandha in Shitali, Mula Mandha and Uddiyana Bandha in Mudras. So you see, it is not the method in other schools.
It is not always a muscular ‘knot’. It also means the hold of the anarchic activities of our emotions. Bandha, to hold also in a way, holding back the unnecessary activities of the sense perception or emotions. So, you have Indriya Bandha, Krodha Bandha, etc. very rarely used in the usual yoga books that interpret Bandha as a muscular knot and give much importance to it. I do not say that they do not exist, but that is not the main aim of Bandha in the traditional Yoga.
Since all our human emotions reside and emanate from Mula (the region of Mula Kanda), Mula Bandha originally meant withholding unneeded emotional activities (activities that keep us away from God.

See my post from yesterday

or better still...

Read the complete interview and full answers to these questions, here


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On reading the above I was reminded of  the vayus  and how they are said to govern emotional and mental qualities. The kleishas too come to mind in that the emotions unrestrained are said to result in the disturbing emotions, the kleishas, the disturbances. Is TK Sribashyam then referring to the idea that the bandhas in vedic yoga are employed to bring 'emotional energy under our influence' and thus help in the reduction of kleishas. Krodha bandha is mentioned for example (Krodha = anger).

Out of my depth here but I find it interesting and perhaps somebody else would like to run with it, educate me by perhaps directing me to some useful texts. I'm guessing Ayurveda might have a lot to say about this.

I've tended to avoid the whole idea of yoga energetics because I couldn't be bring myself to hunt out the good stuff, it seemed a distraction, a rabbit hole I didn't want to disappear down, preferring to just breathe but perhaps practice could be more... skilful, focussed.

NOTE: Paul Harvey who studied one-to-one for many years with TKV Desikachar runs several course on Yoga energetics at his Center for Yoga Studies (It's also a an excellent resource site, lots of free, useful downloads 
http://www.yogastudies.org/?s=energetics

I also likes this idea of the bandhas because it makes Cakra study a little more acceptable to me. I've always been resistant of this area, mainly because of all the pretty rainbow coloured books next to the philosophy shelves. However, Krishnamacharya treats of the cakra in Yoga Makaranda and he seems to be suggesting that when the cakra are working effectively then the vayus ( prana) move through the body nicely. I may have a problem with the spinning disc image but we all experience emotions powerfully in our body, often in areas that seem to correspond to the location of cakras, think the tightness in the throat,  our heart breaking, how we experience our passions (a knot) in our belly and of course mula bandha is best found whenever we see our loved ones cut their fingers. These strong emotions seem trapped (blocked?)  in these areas and often it's calming our breathing that helps. We don't need to go all esoteric here but rather just notice our experience and start from there.... which is no doubt what the old yogis did.

"These pancha pranas are categorized as: Prana vayu, Apana vayu, Samana vayu, Udana vayu and Vyana vayu. Though they function in unison together, each governing a specific area of the body. They can be thought of as elemental forces that are not just the physical, but govern emotional qualities and mental energies, fundamental to physical, mental and emotional well- being.
The practices of yoga, especially asana and pranayama, optimize the functioning of these vayus as well as bring them under our influence. Their energies can then be used to uplift ourselves and restore vibrant health". 
from HERE- (I'm looking for another primary source in Ayurveda texts).



Appendix
mention of the bandhas in Yogayajnavalkya

from Yogayajnavalkya - (AG Mohan translation)

39-49: Benefits offocusing the prai;ia at various places in the body.

GargI, focusing [the prana) at the tip of the nose, is the way to master the prana. By focusing on the navel all diseases are removed. The body attains lightness by focusing on the big toes.

The person who inhales the air through the tongue constantly has no fatigue, and heat and diseases perish. One who inhales air (practices pravayama) thus in the morning, afternoon and evening or before sunrise (brahmamuhürta) for three months acquires proficiency in speech, blessed [Gargi]. By practising for six months one becomes free of all diseases.
Sorme others opine that if one turns the mind inward and focuses on the kundalini, diseases related to degeneration, decay etc. are destroyed. The learned one who inhales the air through the tongue, retains it at the base of the tongue, and drinks the nectar, attains all benefits.57

57 This pranayama includes jihva bandha. Attention focused at the root of the tongue leads to an increased sharpness of the senses.


54-58: Priil-iiyiima and nada.


By this practice, the prana which causes reduction of the life span (when it is dispersed), [is centered and] moves into the brahmarandhra, through the suumnii nadi like a fiber inside a lotus stalk. The appearance of pure and crystalline nada (sound), present up to the top of the head like the sound produced by a vina60 (a traditional musical string instrument), is due to this [movement].

At first, the sound produced by a conch [is heard], then sounds of thunder, and when the nada reaches the crown of the head (brahmarandhra), a sound similar to a mountain waterfall [is heard].61 When the prana vayu reaches the brahmarandhra, and the mind is absorbed in the self, the practitioner becomes blissful and prana is conquered by him. Other yogis who are dedicated to the practice of pranayama, who are pure, and who have gone beyond inhale and exhale, having similar views on this, also say thus.

60 The human spine is comparable to the vina, an ancient Indian string instrument, the vertebrae of the spine being likened to the nodes of the vina. The practice of mullabandha tightens the base of the spine, similar to the tightening of the vinaa at its base. Only when the strings are properly tightened and in proper tension, is the sound (nada) from the vlna proper. Similarly, the practice of the bandhas are useful for proper nadanusandhana .



See my earlier post Veena and the spine
Like the strings on a Veena, Mula bandha at one end, jalandhara bandha at the other and uddiyana for fine tuning and allow the strings to sing out and thus the relvance of nada yoga (LINK), yet another area I've neglected somewhat, briefly touching on it in pranayama.


Interestingly, Krishnamacharya supposedly played the veena, did he take it up perhaps on reading the veen quote in Yajnavalkya?

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Bandhas in Krishnamacharya's Yoga Makaranda

Krishnamcharya does outline bandhas in the mudra section of Yoga makaranda and in his asana instructions he occasionally refers to drawing in the stomach at the end of the exhalation and that the extent to which one does so reflects on the benefit of the asana. 






Krishnamacharya on the Cakras (Chakras) Yoga Makaranda

"Concerning the number of Cakra, we also find different ideas. The most frequent is that which considers there to be seven. However in his book 'Yoga Makaranda' my father talks of ten. There are other ideas as to the number elsewhere, the form in which they are visualised varies according to tradition. Many Yogins visualise them as circles or wheels. According to other sources, they are described as lotuses or Padma with varying number of petals. Compared to the idea of a wheel, which evokes more the idea of movement and rotation, the lotus evokes more the idea of creation. If we analyse all this seriously, we see, in the respect of the Cakra, that the sages, during meditation, did not always have the same experiences and visions. There is no need to discuss this, because it depends on the personal experience of each seer. However, it is important to be aware of these differences and the consequences that they can have for the way in which we imagine the experience." - ‘Concering the Cakra’ by TKV Desikachar





Post link below on accessing chakra's from a physiologist perspective, relating ye olde entwining serpent imagery with the sympathetic and parasympathetic nervous systems.


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See my Free Downloads page for Yoga Makaranda etc.


See also this earlier post on bandhas


* I made the Yoga Korunta quote up. 
The only quote we supposedly have from the Yoga Korunta is...
'Hey Yogi, don't practice asana without vinyasa'

Shoulderstand Variations/Vinyasas: Uttana Mayurasana plus full Supine sequence and Krishnamacharya's Shoulderstands 1938

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Nice to begin and end these sequences with tatkamudra
I'd usually do 3, 6 or 12 deep ujjayi breaths here with uddiyana kriya
I was talking with a friend struggling with Viparita Dandasana and suggested that the shoulderstand version, Uttana Mayurasana might be a nice work towards. When I looked on my Vinyasa Krama sequences and subroutines page however, I couldn't find it, seems I never gave it it's own video. It's there near the end of the full Supine sequence but when I looked at that video I noticed how I had originally posted it as a speeded up version and then tried to slow it down again, quite awful. 

Here then is the Uttana mayurasana spliced out of the full sequence as well as the original regular speed, full Vinyasa Krama Supine Sequence ( found the original video buried away on my HD).

But even that's not quite right, I have a different way of approaching it these days, I take one leg (let's say the right) down to the floor above my head then  and then lower the other leg ( the left) to the mat with the right leg acting as a kind of counterweight. I end up in an eka pada version, then I either lower the right leg beside the left into Uttana mayurasana and then go back via the other leg or come back up to shoulder stand and then do the same with the other leg. 


That might be tricky to visualise so I just made a quick video ( I'd normally take the breathing a little slower than this) with both sides of the eka pada version but then I only forgot to include the actual uttana mayurasana (sometimes I'll include it sometimes not). I've also added Krishnamacharya's uttihita hasta padangustasana from sarvangasana (shoulderstand) because I really like it.

Krishnamacharya also has this arm behind the head vinyasa
after utter hasta padangustasana, it's there in 1938 and he also taught
it to Ramaswami years later
The video isn't great, I was practising it cold so didn't want to risk my hamstrings by aiming for elegance, just wanted to give the general idea. Also I don't practice these everyday, utthita hasta padangustasana especially has gone to the dogs somewhat. Richard Freeman of course might suggest that I'm blessed in that I'm feeling the stretch earlier rather than I used to. Thank you Richard.

Looking at this video you can see I have a bit of winter belly on me, carrying a little extra weight there, slower practise doesn't compensate for rediscovering Japanese food, what can I say. 

Plus I'm being stubborn, I know a week or two of full on faster paced Ashtanga will drop the extra couple of kilo ( 3 actually) but I'll be damned if I'll sacrifice my breath to lose a few pounds, I want to see if the extra weight will just drop off by itself by eating better (less) while maintaining my regular slow practice.

Will let you know.



Below are my original vinyasa Krama videos from 2010, first with the Uttana Mayurasana on it's own then the full Vinyasa Krama Supine Sequence at regular speed there's a speeded up version on youtube HERE. Also a shorter, simplified version HERE

Also practice sheets on the blog that turned into my Vinyasa practice book HERE

NB: The Vinyasa Krama sequences are pedagogic sequences, they are to show the relationship between asana, how one might lead up to asana as well as extend it. It's good to explore the full sequences occasionally but in our daily practice we would likely only include a couple of asana or subroutines along with some from other sequences one day and different ones the next.

Below the uttana mayurasana I've included the Supine/shoulderstand vinyasa from Krishnamacharya's 1938 Black and White film footage which shows nicely that although these vinyasas don't show up in modern Ashtanga, Krishnamacharya was clearly practicing them as well as no doubt teaching and demonstrating them back in the 30s right there in Mysore when the young Pattabhi Jois was his student.

Krishnamacharya didn't change his teaching or soften it, what we think of as Ramaswami's Vinyasa Krama or even Desikachar and Mohan's presentation of his teaching existed right there along with what we think of as contemporary Ashtanga, they are complimentary approaches, consistent with each other. Krishnamcharya seems to have been teaching the more dynamic style to the boys of the palace, perhaps with an assistant (sometimes Pattabhi Jois) leading them through their practice ( not fixed sequences but along more flexible lines based on Primary, middle and proficient groups of asana - see THIS post and how the Ashtanga sequences are based on Krishnamacharya's table of groups of asana listed in almost the same order as current Ashtanga).

See this earlier post focussing on Krishnamacharya's head and shoulderstands from 1938-1980s

While Pattabhi Jois may have bee assisting his teacher by leading the boys through their practice Krishnamacharya was supposedly occasionally in a side room  giving private lessons to students of all ages and stations no doubt along more Vinyasa Krama lines, depending on their age, condition.

Practicing sunrise to sunset practice? Daily routine of a Yogabhyasi

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Enjoyed practice so much this morning ( 48 min 'Sit' followed by three hours  plus asana/pranayama, kind of 1/2 Primary 1/2 Int. Slow Ashtanga/Vinyasa Krama).

Such a nice pace to it, sweat free, breathing smooth, steady throughout, thought I could practise like this all day....

so why not.

Came across this great web page called Time and Date.com, love the little moving sun graphic,




And if the moon is your thing...





The site, now my homepage, has the sun rise and set times I so thought I'll get up for Sury's at 5:03 tomorrow morning and practice until sunset at 18.47,  keep the same pace as today (around 8-10 seconds each inhalation and exhalation) should be able to cover many of the Vinyasa Krama formal sequences with a rough Ashtanga framework  broken up buy pranayama, pratyahara, meditation. Be good to revisit some of the Vinyasa Krama subroutines I haven't practiced for awhile.

Off the top of my head I'm thinking something like this.


First session Vinyasa Krama

4.00 AM    48 min Sit

Coffee

5.03         Sury with mantra    

                Full Tadasana ( Vinyasa krama)

6.00        Bow and Meditative sequence (pretty much corresponds to first half of Ashtanga 2nd)

8.00        Pranayama/pratyahara

9.00        48 min Sit

Savasana



Second Session Slow Ashtanga

10.00        Krishnamacharya Surnamaskara asana

                 Ashtanga Standing

11:00       Asymmetric (corresponding to the first half of Ashtanga primary)

12.00        Pranayama/pratyahara

12.30         Seated/Lotus (corresponding to the second half of Ashtanga primary)

2.00          48 min Sit

Savasana



Third Session Vinyasa Krama

3.00        Supine prep plus Sarvangasana vinyasas

               Inverted Sequence (corresponding Ashtanga finishing)

5.30       pranayma/pratyahara

6.00      48 min Sit

Savasana.


Daily routine of a Yogabhyasi

from Srivatsa Ramaswami's Yoga for the Three stages of Life
(still my favourite book on yoga)



Richard freeman on Yoga: The Natural Push and Pull of True Awakening

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Is it possible to love Richard Freeman even more?

Yep




Feeling all warm and fuzzy inside and can almost see Richard smiling warmly at all the divisive comments from across the different yoga camps and bringing us all together for a group hug.

Such a pleasure to watch this over tea following a Sit and before starting the next session of practice ( see yesterdays post Practicing sunrise to sunset ? PLUS Daily routine of a Yogabhyasi), a much better choice than the UK election results.

I'm busy all day with practice but want to come back to this post later and transcribe some quotes from the video, so so many good bits, perhaps also some  quotes from Thoreau, Emerson and Whitman and add links to my earlier Richard Freeman post So come back again later perhaps or better still quote some of your favourite bits in 'Comments'.

Here's the intro that comes with the video.

"Richard Freeman shares his thoughts on yoga - from his first awareness of early yogic philosophies written about by Thoreau and Emerson to his journey of being a student of Pattabhi Jois and then eventually becoming a teacher to others. Richard reminds us that yoga is all about waking up and seeing how the mind works - and that though we may fall off the path many times a day, if we practice enough, we see what is not conducive to our happiness or the happiness of others. Yoga allows for the natural push and pull of true awakening. It is about gradually falling in love with life, with immediate experience, with reality as it is. Yoga helps you realize that you make yourself happy by making other people happy and that you make yourself sad by focusing on making only yourself happy. Ultimately, Richard finds yoga to be a powerful tool that helps us be nicer to each other".

And the original link on YogaGlo LINK

If Ashtanga is your thing, I highly recommend practicing along to Richards Ashtanga DVD once a year (at least), I always rediscover my practice when I do.

Richard has quite a few videos on Yogaglo that I've been meaning to practice along with. If you don't feel up to a full Ashtanga class then he has some short form videos and even this one, 90 minutes on the sun salutation LINK that you could practice along wih on their 15 day free trail.

Oh and pick up his book 'Mirror of Yoga' TODAY (LINK), can't recommend it enough, quite wonderful.

LINK

Back to practice....








A blog's loss of purpose.... Plus a glitzy (Love) Hotel practice

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or not taking yourself ( and/or your blog) so seriously.

Nothing like practicing in a kitsch Osaka 1970s Love hotel to put things into perspective and as for the above, guilty as charged, clearly.

I'd thought a step back from the blog was in order because others seemed to be taking it too seriously (being quoted freaked me out a bit - You're quoting a blog, you know that right) but ended up taking it more seriously than anyone else, thinking to go out on a big post, what was I thinking!

Some have kindly said my last post was my best post ever, I'm inclined to think that the first one probably was, certainly less pretentious.

So rather than posting elsewhere, all fresh and clean, it's back to basics here and to practice, which is what it is, and less reflection on what that might be.

*

Besides, interesting times are ahead, the cold weather has pretty much gone, the cherry blossom is coming into bloom and the threat of Osaka's humidity is almost upon us and in a house with no air conditioning, what effect is that going to have on practice.

Here's the glitzy Love Hotel practice post that I shamefully posted elsewhere rather than sharing with you who have continued to visit here.

Leak in the bathroom, bath being ripped out, it's going to take a week.
In the past, with an extended family sharing small houses, the short stay hotel was born, a chance to get away from the kids, the in-laws etc.

It's also possible to have a long stay, all night in fact  and is often the cheapest most comfortable option in town (from 8pm - 2pm = 5100 yen).

Osaka they has come to embrace kitsch, the above is one of the ... 'fanciest' unfortunately it was full when we arrived so had to go across the street.
 At first glance  Glitzy, a close inspection shows it's age, the 70's perhaps which might explain the Saturday Night fever dance floor.

A room with ten thousand loves stories, if the walls were inclined to whisper....



Heart shaped graphic equaliser, obviously.
The jazz station had a fondness for Lester young,he would have approved I think. 
...and how could I resist practicing here.



with so many blown bulbs, it reminded me a little of code, The matrix perhaps, and the more I think about these rooms....
unfortunately there was only a red HAL like light (above the bed..... I know), not green,
wrong movie. 




sarvangasana
Sirsasana

Krishnamacharya's Sirsasana ekapada vipariakarani - (Hatha Yoga)
 See HERE
The windows of such hotels are shuttered, discrete.... letting the world in the following morning however, temples and magnolia
Morning.

Krishnamacharya's tricky ekapada sirsasana ( or ekapada viparitakarani)

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I currently have a soft spot for this headstand variation, ekapada viparitakarani


I came across it awhile back in Krishnamacharya's Yoga Makaranda (Part II) but couldn't figure out what was going on in the instructions or how to get into it.

Recently I saw a photograph of Simon Borg-Olivier in the posture, realised that it was possible and decided to explore. 

Before trying it you should be comfortable with the 2nd series Ashtanga Vinyasa  or vinyasa Krama niralumba sirsasana (without support) variations. 



The question now is do we have both hands outstretched, palms down, as in the Ashtanga 2nd series variation and then lower and raise one leg at a time or do we take only the one hand/arm out from behind the head and lower the leg to that. Krishnamacharya's instructions are unclear. 

I suggest trying the 'both arms outstretched in frount of you' variation first. Below I'm exploring a konasana variation following a misreading of the text.


Just goes to show how easily you can get it wrong practicing from a text. I misread Krishnamacharya here. thought he had written spread the legs into konasana then lower on to the palms but actually he spreads the legs into konasana for six breaths, then brings them back together before lowering. That said, I'm sure he practiced this variation also.


Assuming you're comfortable with the Ashtanga Vinyasa 2nd series unsupported headstand variations, the approach I take to the more challenging version is to move one hand from supported headstand into tripod then stretch my arm out, the back of the hand on the mat, then follow Krishnamacharya's instructions, lowering the foot to the hand for six breaths.


Return the same way via the hand in tripod.

Another variation might be to raise up into the headstand variation with one arm already outstretched

Sharath has suggested we explore longer headstands, this might be an option to look at while doing so along with many of those found in Ramaswami's Complete book of Vinyasa Yoga.



A curious thing about Krishnamacharya ( or the editor's) presentation is that he refers to this asana as SIRSHASANA-EKAPADA-VIPARITAKARANI. I'd always assumed viparitikarani was the mudra version of sirsasana and as a mudra perhaps more static, characterised by the employment of bandhas, kumbhaka's and longer stays, lowering and raising the leg in viparitakarani was then a surprise, perhaps this is why (Hatha Yoga) is included in brackets.

I don't tend to think long stays in an unsupported headstand variations is appropriate, in the Ashtanga 2nd series variations one only stays for five breaths. It's true that Krsihnamacharya only indicates six breaths here but he tends to recommend long, slow breathing in his asana practice as well as in the vinyasa, when added to the kumbhaka  (even the shorter one of a couple of seconds recommended for sirsasana) that's a significant period of time without support for the neck.

Update
First attempt to explore this full sequence together rather than separately. Faster breathing than usual because of the recording and a little unsteady due to some anxiety about the glass shoji screens to my left (showing up especially on the second side). The second eka pada approach comes up 3 and a half minutes in.





Below are Krishnamachayra's instructions, starting off with those for sirsasana as he refers to them in the later asana.


SIRSHASANA--HEAD STAND
Sisshasana, Yoga Makaranda Mysore, 1934

This asana is so called because the head supports the whole body. This is also variously called KAPHALASANA, BRAHMASANA. These three, however, differ to some extent both in the technique and in the benefits derived. These differences have to be learnt under personal instructions form a Guru. This asana is beneficial in a large number of diseases and is rightly termed the ‘king of all the asanas’.

Technique:


1. Place something soft, like a cushion, folded blanket or carpet on the floor touching the wall.

2. Kneel on the ground facing the wall.

3. Lock the fingers together, thumbs upright, and place them about four inches from the wall. Let the elbows rest on the cushion, the elbows being not more than a foot apart.


4. Bend the neck and place the top of the head firmly on the cushion inside the knitted fingers. The thumbs should press behind the ears.

5. Eyes are to be kept closed.

6. Raise the hips, so that the knees are straightened and bring the feet as near the head
as possible. The toes, the feet and knees are to be kept together. The back will now rest
against the wall.

7. Take long breaths twice.

8. Lift both the feet simultaneously to an upright position. Toes together, knees
together. The back will rest on the wall. Straighten the back so that the whole body may rest solely on the top of the head without the support of the wall.
Note: For beginners to raise the legs upright without bending the knees will be difficult and the help of another person may be taken. If necessary the knees may be bent, brought closer to the body, the back still kept in contact with the wall and with a slight jump the legs taken above the head, and the knees still bent. The legs are then straightened slowly, the knees together, the toes together and the toes pointed.

9. Toes should be pointed and the thigh and calf muscles should be stretched.

10. Slowly inhale and exhale deeply with rubbing sensation in the throat. When exhalation is complete the abdomen should be well drawn in (UDDIYANA BANDHAM).

Note:
For proper benefit of the asana it is essential that the breathing should be regulated i.e., as long and as thin as possible,
Normal shallow breathing does not give any benefit. (Concentration on Lord Ananthapadmabanabha gives added benefit.) (a combination of asana, pranayama and dhyana gives proper benefit.) (See in this connection Sutra 47 Chapter II of Patanjali’s Yoga Sutras, Vaschaspati Misra’s and Bala Ramodasin’s commentaries.

For the first week do not exceed six inhalations and exhalations. There should be no retention of breath. Uddiyana bandha, in the beginning should be done only once a day.
Every week the number of inhalations and exhalations may be increased by four, so that the duration of the asana is slowly brought up.

11. After the number of rounds of breathing is over, slowly bring down the legs. In the beginning the knees may have to be bent, but as practice advances, the knee can be kept straight.


12. Lie on the back relaxed and take rest for at least for three minutes.
Note: 1. For people who are overweight over 190 lbs. Sirshasana should be begun only after the weight has been reduced.



SIRSHASANA-EKAPADA-VIPARITAKARANI - (Hatha Yoga)

Preparation, move one hand from supporting the head to laying out flat in frount of you


Technique:

1. The first three steps are the same as for the last asana.

2. While exhaling, slowly lower right leg to the ground so that the right foot will rest
on the right palm. The left leg is kept upright. The thigh and calf muscles of both the legs
are kept stretched.

3. Stay in this position for 6 breaths.

4. While inhaling, raise the leg back to the upright position.

5. Repeat with the left leg.

6. The next steps are the same as in step 7 of the previous asana.





VIPARITA KONASANA:


Technique

1. The first eight steps are the same as for Sirshasana.

2. Exhaling, the legs are spread apart, and the thigh and calf muscles kept stretched,
toes should be pointed.

3. Do six deep breathing.

4. Inhaling, bring the legs together.

The next steps are the same as 11 and 12 given under Sirshasana.



DVIPADA VIPARITAKARANI

The hands outstretched variation of sirsasana in 2nd series as preparation for lowering the feet to the hands

Technique:


1. The first step is the same as Sirshasana.

2. While exhaling both the legs are lowered to the ground without bending the knees and keeping the thigh and calf muscles stretched.

3. Do six deep breathing.

4. While inhaling raise both the legs together to the upright position.

5. While exhaling bend knees and return to the floor and rest.

6.     Exhale, bend knees, so that they approach the throat, lower the hips so that the back rests on the ground and then stretch the legs, so that the whole forms a rolling movement.


7. Take rest at least for a minute.


Benefits:
The thyroid gets special benefits. The waist line is reduced. This tones up the liver. This helps in preventing piles, and helps in curing gastric troubles.
(Note: The above three variations are according to Hatha Yoga).


Note:

In the beginning it may be difficult to bring the body to an upright position without bending the knees.

So the knees may be bent and the thighs bent over the body.
The hips are raised from the ground and the back supported by the palms.
The legs are now stretched.

If there is still difficulty, then help of somebody should be taken.

If the body is fat and no help is available, the help of the wall may be sought so that it can support the heels at gradually increasing levels.

This is done by lying on the ground facing the wall perpendicular to it.
After some time the hips can also be raised by having a bedroll near the wall.
When some strength is gained the heels are removed from the wall and the legs brought upright.

(As breathing exercises are done in these positions the abdominal muscles get toned up and the stomach becomes more and more pliable and soft.


The chin should be locked in the neck pit. This ensures that the head is placed symmetrical with the body so that the neck muscles may not be strained. The neck pit is the depression in front of the thyroid between the collar bones.
Note: The chin lock will not be possible in the beginning stages, but it should be kept in mind that the head is kept symmetrical with the body and the neck muscles are not strained.

The full chin lock will become possible when the body is fully upright and the palms have reached a position in the back as low as possible.


Slowly inhale and exhale with even, long breaths through both nostrils, with rubbing sensation in the throat, not more than six times at the beginning. There should be no retention of breath. The number of inhalations and exhalations may be slowly increased at the rate of two each week.


Note:
The final duration of this asana can be 5 to 10 minutes when it is done by itself. If on the other hand other asanas are also being done the duration may be suitably reduced.

*

More on Krishnamacharya's headstands here
http://grimmly2007.blogspot.jp/2014/11/krishnamacharyas-1930s-mysore-headstand.html

Some more sirsasana variations from Krishnamacharya from 1938 (Mysore).


Krishnamacharya and Burmese Buddhist meditation: focal points linked to breath and brought into asana.

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"Those who practice yoganga, with the power of vinyasa and pranayama, have the ability to significantly decrease this number (of breaths). While practicing yoga with reverence, one can offer their essence to God during exhalation and during inhalation, imagine/suppose that God is entering your heart.  During kumbhaka, we can practice dharana and dhyana.  Such practices will improve mental concentration and strengthen silence/stillness.  Eliminates agitation and restlessness". 
Krishnamacharya Yogasanagalu (1941)



Now I'm no doubt reading too much into this and making connections where perhaps they aren't any or where none are necessary (these focal points are after all traditional points of mental focus in yoga) Still,  it's been playing on my mind, something about the technique of linking focal points to the breath and bringing them into asana practice. Either way it makes for a good post and a chance to look at this material again.


For a number of years I've been fascinated by the Idea that Krishnamacharya either went to Burma to study 'Burmese Yoga' or , what now seems more likely studied Buddhism, and Buddhist meditation in the Burmese tradition in particular. I was quite excited then to see this account (below) of Krishnamacharya and his son TK Sribhashyam  visiting the Mahabodhi/Bodhigaya temple, in the recent interview over at Harmony Yoga. Krishnamacharya sits down with some of the elderly monks who are supposedly old friends of his from when they studied Buddhism together. Krishnamacharya then went on to teach his son the differences between pranayama in Hinduism and Buddhism. Wouldn't you have like to be a mosquito on the temple wall for that conversation. What differences in particular did Krishnamacharya explain to his son, Samantha perhaps, mindfulness of breathing? Did any of these practices find their way into Krishnamacharya's own practice and teaching. ?

http://www.longdriveholiday.com/bodhgaya/
Now, I was just reading again Ajaan Lee's book, Keeping the Breath in Mind (free download available HERE - Thank you S.) and looking at this use of focal points (or bases of the mind) in the Meditation practice he presents based on the breath.


from Ajaan Lee Dhammadharo Keeping the Breath in Mind
Lessons in Samdhi
by
"5. Become acquainted with the bases or focal points for the mind—the resting
spots of the breath—and center your awareness on whichever one seems most
comfortable. A few of these bases are:

a. the tip of the nose,
b. the middle of the head,
c. the palate,
d. the base of the throat,
e. the breastbone (the tip of the sternum),
f. the navel (or a point just above it)".

Doesn't that remind you of Krishnamacharya's use of focal points to bring Dharana into his asana practice as outlined by his son TK Sribhashyam in Emergence of Yoga.

BUT Ajaan Lee is of course Thai not Burmese (There is a Thai tradition of focal point/bases for the mind breath meditation- see Dhammakya at the end of post). However, I checked Ajaan Lee's autobiography and it turns out he spent time in Burma and, get this, also India and at Maha bodhi in particular. Was the focal point/bases of the mind approach to Samatha in vogue at mahabodhi at the time Krishnamacharya may have studied there if indeed that was where he encountered Burmese and perhaps Thai Buddhism. Was there a cross fertilisation between this encounter with Samatha and Krishnamacharya's reading of Yoga Yajnavalkya ( see No. 4 below).

http://www.longdriveholiday.com/bodhgaya/

Krishnamacharya was always all about the breath, in Yoga Makaranda he only seems to employ two focal points, the tip of the nose and between the eyebrows, he was however well aware of the employment of the vital points in one of his favourite texts YogaYajnavalkya (includes a pranayama technique where the breath -and prana- moved from vital point to vital point). Krishnamacharya would of course have been fascinated had he encountered a meditative tradition based on the breath that focussed on traditional focal points (those from the heart up are considered to be spiritual focal points rather than those for the emotions or those for the body.

  1. First up then the Question and answer from the interview with Sribashyam on Buddhism and Burma.
  2. Next a page outlining the focal points in Emergence of Yoga along with an outline of Krishnamacharya's own practice
  3. A couple of sections from Ajaan Lees book outlining the Meditation technique  with a link to a free download for the full method.
  4. Finally the relevant passages on moving prana from vital point to vital point in pratyahara and pranayama practice found in Yoga Yajnavalkya.

*

1. Krishnamacharya and Burmese Buddhist meditation
Interview with TK Sribashyam ( Krishnamacharya's 3rd son from this post http://grimmly2007.blogspot.jp/2015/05/an-interview-with-krishnamacharyas-3rd.html

"11) You mentioned in the Life Sketch of your Father that he mastered Buddhist Yoga in Burma. Would you be able to tell us more about this and what influence this had on your father’s teaching?"

"My father’s teaching of Indian Philosophy (Yoga Sutra, Vedanta, and even Hatha Yoga) had very often comparisons to the Buddhists thoughts – either to make us understand the flaws that existed in the Buddhist logic and analysis or to bring to light some similar views, especially in the psychology of Buddhism, so that we develop conviction in the Buddha’s teaching.
Apart from this, he used to receive Buddhist monks who would have long discussions with him on this philosophy. As often it was a private discussion, we did not dare to attend these lessons.
In the late sixties, when I went with my father on a pilgrimage to Allahabad, Varanasi and Gaya, he took me to Bodh Gaya for two consecutive days. It is here that he gave some important points of Buddha’s teaching, as also their method of Dhyāna, particularly their very significant mantra: Buddham Sharanam Gachami, Dhammam (Dharmam) Sharanam Gachami, Samgham Sharnam Gachami. I remember some elderly monks saluting him and expressing their happiness at meeting him. They sat in a corner in the Buddha’s temple and had more than an hour’s discussion. The meeting was completed by a silent meditation. Later, my father told me that they were his colleagues when he studied Buddhism. He taught me the technique and practice of Pranayama applied by the Buddhists and subtle differences between Hinduism and Buddhism. However, he was not criticising Buddhism in his lectures. My father had great respect for Buddha’s teaching.
We should not forget that Buddha is considered as one of the incarnations of Vishnu.
A successful Vedic ritual or even a meditation requires a healthy body and mind so that we can stay during the rituals and in a meditation for a longer period without getting disturbances from the senses and the mind".
full interview HERE


*



2. Concentration on the the sixteen vital points

from Emergence of Yoga by Krishnamacharya's 3rd son SRI T K SRIBHASHYAM

Also example from the Book of Krishnamacharya's own practice to show how concentration of vital points might be employed.


http://grimmly2007.blogspot.jp/2014/10/drishti-ashtanga-and-meditation-how.html


*Note in the second sheet ( EG. Baddha Konasana ) how the concentration  moves from point to point, mula to sirsa, on the inhalation although the exhalation always remains on a single point

*


3. Keeping the Breath in Mind
Lessons in Samdhi
byAjaan Lee Dhammadharo


Method 1
"Sit in a half-lotus position, right leg on top of the left leg, your hands placed
palm-up on your lap, right hand on top of the left. Keep your body straight, and
your mind on the task before you. Raise your hands in respect, palm-to-palm in
front of the heart, and think of the qualities of the Buddha, Dhamma, and
Sangha: Buddho me n›tho—The Buddha is my mainstay. Dhammo me n›tho —The
Dhamma is my mainstay. Saºgho me n›tho —The Sangha is my mainstay. Then
repeat in your mind, buddho, buddho; dhammo, dhammo; saºgho, saºgho. Return
your hands to your lap, and repeat one word, buddho, three times in your mind.
Then think of the in-and-out breath, counting the breaths in pairs. First think
bud- with the in-breath, dho with the out, ten times. Then begin again, thinking
buddho with the in-breath, buddho with the out, seven times. Then begin again: As
the breath goes in and out once, think buddho once, five times. Then begin again:
As the breath goes in and out once, think buddho three times. Do this for three inand-out
breaths.
Now you can stop counting the breaths, and simply think bud- with the inbreath
and dho with the out. Let the breath be relaxed and natural. Keep your
mind perfectly still, focused on the breath as it comes in and out of the nostrils.
When the breath goes out, don’t send the mind out after it. When the breath
comes in, don’t let the mind follow it in. Let your awareness be broad and open.
Don’t force the mind too much. Relax. Pretend that you’re breathing out in the
wide-open air. Keep the mind still, like a post at the edge of the sea. When the
water rises, the post doesn’t rise with it; when the water ebbs, the post doesn’t
sink.
 When you’ve reached this level of stillness, you can stop thinking buddho.
Simply be aware of the feeling of the breath.
 Then slowly bring your attention inward, focusing it on the various aspects of
the breath—the important aspects that can give rise to intuitive powers of
various kinds: clairvoyance, clairaudience, the ability to know the minds of
others, the ability to remember previous lives, the ability to know where
different people and animals are reborn after death, and knowledge of the
various elements or potentials that are connected with, and can be of use to, the
body. These elements come from the bases of the breath. The First Base: Center
the mind on the tip of the nose, and then slowly move it to the middle of the
forehead, The Second Base. Keep your awareness broad. Let the mind rest for a
moment at the forehead, and then bring it back to the nose. Keep moving it back
and forth between the nose and the forehead—like a person climbing up and
down a mountain—seven times. Then let it settle at the forehead. Don’t let it go
back to the nose.
 From here, let it move to The Third Base, the middle of the top of the head,
and let it settle there for a moment. Keep your awareness broad. Inhale the
breath at that spot, let it spread throughout the head for a moment, and then
return the mind to the middle of the forehead. Move the mind back and forth
between the forehead and the top of the head seven times, finally letting it rest
on the top of the head.
 Then bring it into The Fourth Base, the middle of the brain. Let it be still for a
moment, and then bring it back out to the top of the head. Keep moving it back
and forth between these two spots, finally letting it settle in the middle of the
brain. Keep your awareness broad. Let the refined breath in the brain spread to
the lower parts of the body...."


from Method 2...

"As soon as you find that your breathing feels comfortable, let this comfortable
breath sensation spread to the different parts of the body. To begin with, inhale
the breath sensation at the base of the skull and let it flow all the way down the
spine".

"Then let the breath from the base of the skull spread down over both
shoulders, past your elbows and wrists, to the tips of your fingers and out into
the air".


"5. Become acquainted with the bases or focal points for the mind—the resting
spots of the breath—and center your awareness on whichever one seems most
comfortable. A few of these bases are:

a. the tip of the nose,
b. the middle of the head,
c. the palate,
d. the base of the throat,
e. the breastbone (the tip of the sternum),
f. the navel (or a point just above it).

If you suffer from frequent headaches or nervous problems, don’t focus on
any spot above the base of the throat. And don’t try to force the breath or put
yourself into a trance. Breathe freely and naturally. Let the mind be at ease with
the breath—but not to the point where it slips away".

*

4. the Sixteen vital points in pratyahara 
from Yoga Yajnavalkya (AG Mohan edition)

However, we know too that Krishnamacharya stressed  the importance of the Yoga Yajnavakya and this text treats the vital points in the chapter on pratyaha, drawing the prana from one point to another. Perhaps then we don't need to look to Burmese Buddhist meditation to find the seeds of Krishnamacharya's employment of the vital points, to bring an element of Dharana to his asana and mudra practice.
from Yoga Yajnavalkya AG Mohan Translation


"The senses, by nature being drawn towards [their sensory] objects, their restraint by [conscious] effort is said to be pratyahara.
Whatever you see, look upon al of it as [being] in the self, and as the self. This is also called pratyahara by great souls who have realized [the essence of] yoga.
For all beings, the mental practice of the daily duties that are prescribed (by the Vedas), devoid of external actions, is also said to be pratyahara.
The following pratyahara is the greatest yogic practice and is praised and followed by yogis always. Having drawn the prana from one point to another, holding it in the eighteen vital points (marmasthanas) is spoken of as pratyahara. The Asvini Kumaras who are the best among the physicians of the celestials (devas) have spoken thus of the vital points in the body,
for the attainment of liberation through yoga".
p75

"I shall explain all of them in an orderly manner. Listen, disciplined [Gargi]!
The big toes, the ankles, in the mid-shanks, the root of the calves, the knees, middle of the thighs, the root of the anus, the center of the body (dehamadhya), generative organ, the nave], the heart, and neck pit, Gargi Then, the root of!he palate, the root ofthe nose, circular orb of!he eyes, the center of the eyebrows, the forehead, and crown of the head. [Gargi,] best among sages!
These are the vital points".
p76

"One must focus and retain the prana, using the mind, in these vital points. In one who does pratyahara, drawing the prana from one point to another, all diseases perish. Far him yoga attains fruition".
p77

This is perhaps the most interesting of all, employing the Vital Points in pranayama.
It should be noted that the seven vital points from the heart to the top of the head are considered those most important for spiritual practice, the others being for the emotions and the 'body', this approach then might be taken with just the seven 'spiritual' vital points depending upon ones intention.

"Some skilled yogis speak of[another] pratyahara. Listen, beautiful [Gargi], I will tell you [about] it. During the practice of pranayama, the prana must be held by the mind from the big toe to the crown of the head, like a totally filled pot. Drawing [the prana] from the crown of the head, one must focus it in the forehead. Again, drawing the prana from the forehead, one must focus it between the eyebrows. Drawing [the prana] from the center of the eyebrows one must focus it in center of the eyes. Drawing the prana from the eyes, one must focus it in the root of the nose. From the root of the nose, one must focus the prana in the root of the tangue. Drawing [the pranaa] from the roof of the tongue, one must focus it in the base of the throat (neck-pit). Drawing the prana from the neck-pit, one must focus it in center of the heart, from the center of heart in the center of the nave!, again from the center of the navel in the generative organ and then from the generative organ in the abode of fire (dehamadhya), from the dehamadhya (center of the body), Gargi, in the root of the anus and from the root of the anus in the [mid-] thighs , then from the mid-thigh in the center o fthe knees. Then, [from the knee] one must focus the prana in the root of the calf, from there in the middle of the shank, and drawing [the prana] from the middle of the shank in the ankle. From the ankle, Gargl, one must focus
it (the prava) in the big toes of the feet".
p78-79






Appendix


(Phra Mongkhonthepmuni (Sodh Candasaro; 10 October 1884 – 3 February 1959), the late abbot of Wat Paknam Bhasicharoen, was the founder of the Thai Dhammakaya meditation school in 1914.

Samatha
As with many forms of Buddhist meditation Dhammakaya meditation has both samatha and vipassana stages. The goal of Dhammakaya meditation at the samatha level is to overcome the Five hindrances.When the mind becomes peaceful and stable as the result of successful practice for tranquillity, the mind will overcome the Five Hindrances and reach a state of one-pointedness (ekaggata) also known in Dhammakaya Meditation as the 'standstill of the mind' (i.e. to a state where it is free of thought). The indication of reaching this stage is that a bright clear sphere will arise spontaneously at the centre of the body. The mind should then be directed continuously at the centre of this sphere helping to transport the mind towards the ekalyânamagga path inside. attainment at the level of vipassana arises. 

There are several ways of focussing the attention at the centre of the body, namely:

following down through the seven bases of the mind, namely: the nostril, the corner of the eye, the centre of the head, the roof of the mouth, the centre of the throat, the middle of the stomach at the level of the navel and two finger breadths above the previous point.
visualising a mental image at the centre of the body: characteristically, a crystal ball [alokasaññâ] or a crystal clear Buddha image [buddhânussati] and repetition of the mantra ‘Samma-Araham’ (which means ‘the Buddha who has properly attained to arahantship’).
placing the attention at the centre of the body without visualising



7 bases of the mind






Dhammakaya meditation was re-discovered by Phramongkolthepmuni on the full-moon night of September 1914 at Wat Bangkuvieng, Nonthaburi.[1] This monk had practised several other forms of meditation popular in Thailand at the time with teachers such as Phrasangavaranuwongse (Phra Acharn Eam) of Wat Rajasiddharam, Bangkok; Phra Kru Nyanavirat (Phra Acharn Po) of Wat Pho, Bangkok; Phra Acharn Singh of Wat Lakorn Thamm, Thonburi; Phramonkolthipmuni (Phra Acharn Muy) of Wat Chakrawat, Bangkok and Phra Acharn Pleum of Wat Kao Yai, Amphoe Tha Maka, Kanchanaburi.[2] He claimed that the Dhammakaya approach he discovered had nothing to do with the teachings he had received from these other masters - but he did have previous knowledge of the Sammā-Arahaṃ mantra before discovering the technique. The technique of directing attention towards the centre of the body is already described in an obscure 18th century Sinhalese meditation manual that was translated into English as Manual of a Mystic. It was probably introduced into Sri Lanka by Thai monks during the Buddhist revival in the mid-eighteenth century, and taught to forest dwelling monks of the Asgiriya Vihara fraternity in the Kandyan Kingdom, who wrote it down.[3] After rediscovering the technique, Phramonkolthepmuni first taught it to others at Wat Bangpla, Amphoe Bang Len, Nakhon Pathom in 1915.[4] From 1916 onwards, when he was given his first abbothood, Dhammakaya Meditation became associated with his home temple of Wat Paknam Bhasicharoen. It is said that Phramongkolthepmuni was the rediscoverer of Dhammakaya meditation, because members of the Dhammakaya Movement believe that the Buddha became enlightened by attaining Dhammakaya, and that knowledge of this (equated with Saddhamma in the Dhammakaya Movement) was lost 500 years after the Buddha entered Parinirvana.


*

Also

an earlier post on Pratyahara and marma points

Home practice.... but in a Shala. 5:30am. Wake Up. Practice..... Next Morning - Repeat.

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The Englishman in me struggles with voiceover (except for Blade Runner obviously) and Country music makes me wince a little but there's a charm to this video and I couldn't resist sharing, it made me think of home practice..... but in a shala (LINK).

First we establish a practice.... then try to work out what the bloomin' thing means.



Flying cars and Is Ashtanga a spiritual practice? Also Opening a shala/studio in Osaka

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Reply to a comment on my previous post
Home practice.... but in a Shala. 5:30am. Wake Up. Practice..... Next Morning - Repeat.


You don't have a flying car? Oh I forgot everywhere else is five years or so behind Japan. No, I did not know they were making a Blade Runner sequel, not sure how I feel about that either.

Friend was over from the UK yesterday, I was showing them Osaka, this very conversation came up while walking past all the stand up counter noodle bars, my friend was feeling very Harrison Fordian.

Tenoji , Osaka at night (was here with friends yesterday.
I still don't know what 'spiritual' means (these new fangled words, how does one keep up), what I do know is that so many meditation practices say to begin with the breath, spend the first couple of years just watching the breath. Mediator's start with twenty minutes, forty an hour at a time. In Ashtanga we spend 90-120 minutes (or longer), ideally just watching the breath. I don't know many mediator's, lay Zen or otherwise who spend that long in one sitting (although often broken up with walking meditation). So the question is how much distraction do we allow by getting wrapped up in the asana or whatnot.

I personally found slower practice helped, can watch each inhalation and exhalation from beginning to end, coming back to that constantly makes a profound difference to my practice. More recently I've worked on shifting that focus from the breath to the focal points that Krishnamacharya mentions and that his son Sribashyam draws attention to, this too is a profound practice. Does it bring me close, to God, Universal consciousness? I still have no idea what they mean but it does give a very real experience of what is so often an intellectual idea of 'not being', all the nonsense that passes through the head,... 'in the world' but not necessarily 'of the world'.... bit of a bugger that for a Heideggerian.

Does all this make it a spiritual practice? I have no idea but I think breath focus and not losing track of that being what the practice is really about is either an end in itself or, if a spiritual path is what somebody is looking for, then a pretty impressive beginning.

And then there is the Yoga three stages for life idea, all this can be seen as preparation for that time when kids and household commitments have passed and we can retire to the metaphorical ( or actual) forest and really begin our practice.

Ultimately however athletic, gymnastic, asana obsessed somebodies practice may or may not be doesn't really matter ( so to all those who saying  'X' isn't yoga, please, get over yourselves), it's the long game that matters and most of us are just passing through the second stage of life anyway, time enough for that third stage. Leave somebody else's practice to them to worry about it and attend to our own, Yoga has survived one way or other for thousands of years we probably don't need to 'protect' it as much as we think. Just lay out your stall and somebody can stop or walk on by and perhaps come back later.... or not.


LINK to earlier post


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Just seen that fb have offered up a picture (or rather a screenshot) of something I posted on this day a year ago, still agree with it and consider it the practice.


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Opening a Yoga shala/studio in Osaka, Japan

Possibility has come up ( friend got in touch who is moving into the same building) of opening a shala/studio in Osaka, just down the road in fact. Quite excited but also terrified by the idea.

Mentioning and showing pictures will probably jinx the deal but if it doesn't happen anyway then posting these might give me the push to seek out another location.

The idea I have in my head is calling it something like


Slow Ashtanga and Vinyasa Krama Yoga - Osaka.

My own classes would be Slow Ashtanga as based on Krishnamacharya's early books as well as classes on Vinyasa Krama but in the morning Mysore program anyone could come and practice however the hell they wanted, Regular Ashtanga, Slow Ashtanga, Vinyasa Krama, Power yoga with bells on, Home practice but in a shala.

May know this afternoon if it's going to happen but if not.....




"The word yoga itself is said to have seventeen meanings": Theos Bernard

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The word yoga itself is said to have seventeen meanings:
from Heaven Lies Within Us by Theos Bernard.

  • Union, or methods of union.
  • Any outside thing uniting any other outside thing.
  • To mix one thing with another, as sugar with water.
  • To unite cause with effect, as sparks with fire.
  • The method of properly decorating, keeping things in their proper places.
  • Some symbolised word which reveals an internal meaning, as a cable code, proverb, or aphorism; these are also called Yoga.
  • To hide one thing and to try to show another, signifying a thing without telling about it, as a hint, or as a magician would do.
  • Different significances of words, which vary according to different minds.
  • Physical exercise.
  • Proper composition of language to convey description.
  • Any sort of skill or dexterity.
  • Methods to protect what one possesses, materially, mentally and spiritually.
  • To find means for acquiring things by deep contemplation, as the solution of a problem in mathematics or in engineering, or the unveiling of a plot as in a problem story.
  • Conversion of one substance into another, such as the creation of something new out of a known substance, as in chemistry.
  • To unite two souls for any purpose.
  • To produce a current of thought for any specific attainment, to take any specific object or concept and make the mind follow it to the exclusion of all else.
  • To suspend all metal activity, to concentrate the heart upon one particular thing.
A reader , Donny, got in touch a while back saying he was starting up a website/blog and could he use some of the material from here. I was happy to oblige,and besides I have this blog down as creative commons licence anyway. Donny got in touch again this week to say it was up and running, it contains some excellent material I hadn't come across before.

The site is called  Kaohsiung Yoga after the city of the same name in Taiwan where Donny has his studio.

I particularly like the four part post on Theos Bernard, who went to India and Tibet in the 30s and 40s in search of Yoga. His phd thesis was turned into a book and is still my favourite treatment of the Hatha yoga Pradipka in that it's Theos' experience of being taught HYP as a manual, no doubt it's original intention.

My own edition stumbled upon in a UK charity shop a few years back.


Donny's four part Theos Bernard post is based on another work of Theos Bernard, pretty much an autobiography called Heaven lies within. Donny quotes extensively from the book in his posts.




More quotes from the book HERE


A nice overview of Theos Bernard's life, not Wikipedia for a change.
http://c250.columbia.edu/c250_celebrates/remarkable_columbians/theos_bernard_scholar.html

The above article is by Paul G. Hackett who wrote this biography of Theos Bernard which I still haven't gotten around to buying, although I did spend all afternoon reading part of it in a bookshop in Santa Monica while on Ramaswami's TT coulrse at LMU.



"There is a broader meaning to Yoga than is commonly supposed. Indeed, it will be found that most persons are practicing Yoga in one form or another at all times; strictly speaking, Yoga is nothing more nor less than the rules of life. Such rules, however, are practiced without system, without real direction, and it is the function of Yoga to provide this system, so that life may be conducted in the light of method instead of in the shadow of confusion. People who go to worship regularly in the churches are practicing Bhakti yoga, those who derive spiritual nourishment from music are practicing Mantra Yoga, those who seek joy and solace in mental activities are following the path of Jnana Yoga, and those who train the body for their happiness are in a mild way practicing Hatha Yoga." Theos Bernard - Heaven lies within us.

Ashtanga Parampara, Tradition and Lineage

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Nice to see that Lu Duong and team have turned the excellent Ashtanga Parampara interviews into a magazine/book.

As Lu indicates in the title,  mission statement and opening greeting, these interviews are about a sharing, passing on of teaching, they are about the relationship between the interviewee and their teacher but also about the interviewee and their own students, about community, sangha.

And yet it also struck me that the cover and all of the pictures within except for those accompanying Anna Muzzin's interview are of solitary practice. The cover shows us a mat in an attic, those within are icon images of isolation, vast rooms, cliffs, the ocean, a doorway, home practice comes to us all sooner or later it seems. I'm reminded of an excellent picture of David Garrigues practicing in a cluttered  narrow hallway (see end of post for a link to DG's new podcast on Ashtanga Dispatch).

The magazine/book, Volume One,  contains seven of the fifteen interviews currently on the Ashtanga Parampara website


Here then is the cover, the mission statement, opening greeting and contents.


LINK






Lu's interviews are with Authorised teachers in the Ashtanga vinyasa tradition


I've tended to see Authorisation as an unnecessary evil, we have Pattabhi Jois' Yoga Mala and that strikes me as about authoritative guide to this practice as we need. A chart/table based on that book showing the order of asana and vinyasa (along with it's caveats), the drishti, where to look for the bandhas is all that we require that and it's practice, years of practice.

If we do want a teacher, help in this practice, than what we need to know perhaps is how long they have practiced with sincerity the methodology they propose to share.

There are great teachers out there, great guides to practice whether authorised or not, recognised or not.

Epstein's Jacob and the angel,
...what we wrestle against and what supports us
the obstacles and their gifts 

Lineage is learning the practice, the methodology, however you may appropriate it and then passing it along in turn.

Tradition is something else altogether perhaps, the Hatha tradition and the Yoga tradition with which it's mingled, there are excellent scholars some who also practice, Krishnamacharya was such a man, Pattabhi Jois also perhaps... if we're lucky we may find a guide who is able to assist us in our investigation, reading, and practice of the tradition as well as of the lineage otherwise we may need to find a lineage teacher and a tradition teacher separately.

The tradition however is based on a simple insight that reaches back before lineages and traditions and across cultures. And we don't need to read any ancient text or visit any teacher to rediscover that first insight for ourselves.

Simplify your life

sit

focus the attention.

There appears to have been a lot of sitting before before the Vedas and the Upanishads, centuries of sitting before Patanjali collected his aphorisms and centuries more before the Hatha texts began to appear. 

Krishnamacharya wrote Yoga Makaranda in 1934. Pattabhi Jois' Yoga Mala is from the 1950s. Norman Allan, David Williams and Nancy Gilgoff encountered Pattabhi Jois in Mysore the 1970s.



David Garrigues is excellent on lineage, tradition and parampara in the new Ashtanga Dispatch podcast, I highly recommend it.

http://pegmulqueen.com/2015/05/20/david-garrigues-2/

See also perhaps my follow up post


More on Ashtanga Vinyasa Lineage, Tradition and Parampara

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LINK

This morning I posted on the new magazine version of the Ashtanga Parampara interviews that I have been featuring here on the blog over the last couple of months.


LINK

In this post I want to pick over some of the ideas presented in the Ashtanga Pranampara Mission statement and intro. I do this because while I love Lu and these interviews and am interested in the stories of the excellent teachers involved, it concerns me that it may present a one sided view of what defines Ashtanga Vinyasa.

This is very much a personal, alternative view (it is a blog after all) of a mostly home Ashtanga vinyasa practitioner and of only eight years.

Home practice: Advanced series is unnecessary,
Primary or even half Primary are more than sufficient.

"Authorized and certified teachers have demonstrated strength and sacrifice towards this practice, leaving behind family, friends, and professional obligations to practice in Mysore, India, over the course of years. This guru-shishya tradition, also known as lineage or parampara, defines the Ashtanga practice, and is one of its most potent aspects.” Ashtanga Parampara

Looking at the first sentence

"Authorized and certified teachers have demonstrated strength and sacrifice towards this practice, leaving behind family, friends, and professional obligations to practice in Mysore, India, over the course of years."

This does indeed demonstrate commitment and sacrifice as well as perhaps a  passion for the practice. However in no sense, I would argue, is this required of the Ashtanga vinyasa lineage, all the sacrifice and commitment that is required is to (get on the mat and) practice as much as one is able in ones life presently as well as, more importantly, to try to bring the yama and niyamas, in whichever form they manifest themselves in our culture, into our day as much and as fully as possible. Somebody who practices daily year after year without making a single trip to Mysore or indeed to a shala, who never writes a blog post or posts a selfie on social media may be just as committed (perhaps more so) as any of the excellent teachers who grace Ashtanga Parampara.

"This guru-shishya tradition, also known as lineage or parampara, defines the Ashtanga practice, and is one of its most potent aspects.”

I would argue that while there is an ancient tradition of guru-shishya in which one would be guided in depth in all areas (limbs) of yoga practice (traditionally living with one's guru for seven years) and also clearly a modern tradition ( 'Tradition' is an interesting word in that it can suggest ancient and recent) of either visiting Mysore or wherever Manju may happen to be teaching or any other senior, long term practitioner for advice and guidance this certainly does not define the practice.

Practice defines the practice.

LINK

This lineage is a linking of movements to the breath, of embedding the asana in a vinyasa that includes it's pratkriya (counter), each breath counted (or implied). Krishnamacharya's flexible table of primary, middle and proficient groups of asana become fixed (but perhaps not too strictly) in a sequence of postures in his student Pattabhi Jois who also increased the number of drishti from two to nine. The focussing of attention was always a part of the lineage it seems as was the exploration of bandhas.

That lineage is available to us in Krishnamacharya's Yoga Makaranda (1934) and Yogasanagalu (1941) and in Pattabhi Jois' Yoga Mala (1950s), we see it in convenient table/chart form in Yogasanagalu and in the 1973 ( and may go back to the 1940s) syllabus that Pattabhi Jois gave to Nancy Gilgoff and David Williams. There may have been some variations over the years, a slight reordering and shift of attention from full vinyasa to half vinyasa but the lineage essentially remains the same (although I would argue that the ball was dropped somewhat in leaving out kumbhaka, present in Krishnamacharya).

However we learn or have learned this practice, whether directly from Pattabhi Jois or from one of the teachers he himself taught or they taught in turn and so on down, whether from Yoga Mala directly or one of the books or videos produced by one of the students of Pattabhi Jois ( who suggested to Richard Freeman that he make a video), whether at home or in a shala. If we continue to practice pretty much in line with Yoga Mala ( and it offers several flexible options for practice) in a shala with or without a teacher, in a studio space or at home then I would argue we are very much following the lineage.

The practice is the lineage, not where or from who but practicing sincerely and ( here I very much agree with my friend  Lu) with commitment and some degree of sacrifice.

LINK to FULL 1973 Ashtanga syllabus

I've tended to see Authorisation as an unnecessary evil ( and I wonder how many of the interviewees in the Guruji book Lu refers too as an inspiration for his project are on the current authorised list). What we do have is Pattabhi Jois' Yoga Mala and that strikes me as about authoritative guide to this practice as we need, all the authorisation that we need. A chart/table based on that book showing the order of asana and vinyasa (along with it's caveats), the drishti, where to look for the bandhas is all that we require, that and it's practice, years of practice.


If we do want a teacher, help in this practice, than what we need to know perhaps is how long they have practiced with sincerity the methodology they propose to share.

Don't get me wrong there are great teachers out there, great guides to practice whether authorised or not, recognised or not.

The Yoga Tradition is vast but I remember Ramaswami (who was a student of Krishnamacharya for 33 years) saying that Patanjali's yoga Sutras and Vyasas commentary (which may have been written by the same hand) speak directly to us and it's only the commentaries that confuses us, likewise with the Gita, the Upanishads. Ramaswami also teaches that meditation can include the reading of appropriate texts. Our practice of bringing the yama and niyamas into our lives, our asana and pranyama, our pratyahara prepare us for our meditative activity. Our practice then is perhaps all the preparation we need for encountering and engaging these texts of similarly appropriate material of our own tradition and culture.

Teachers, Gurus, shastras (spiritual texts) are guides only, shortcuts, as I suggested in the previous post, the Yoga tradition  is based on a simple insight that reaches back before lineages and traditions and across cultures,we don't need to read any ancient text or visit a teacher to rediscover that first insight for ourselves.


Simplify your life

sit

focus the attention.

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David Garrigues is excellent on lineage, tradition and parampara in the new Ashtanga Dispatch podcast, I highly recommend it.

http://pegmulqueen.com/2015/05/20/david-garrigues-2/

Pashasana and Jumping out of Bhjupindasana, supta kurmasana and Tittibhasana: Mathew Sweeney Mini workshop series for Love Yoga Anatomy

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Ridgie didge mini tutorials from Mathew Sweeney for Love Yoga Anatomy. Love the tone of these, just couple of mates talking them through on a patio minus a couple of tinnies.

The first two are from Matthew's YouTube channel, the second two of the same series of mini workshops is from the Love Yoga Anatomy Channel, they have a Mini workshop series by several teacher there that I hadn't noticed before (click on the 'watch on youtube' option in the bottom left of each video.

If you happen to make a pigs bum of trying these out and get some wrist strain check out my next post on avoiding and overcoming said strain.



Ashtanga wrist issues and therapy: Gymnasts Wrist or Washer Woman's syndrome overcome with Trigger Therapy

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http://www.hybridperspective.com/2013/10/24/wrist-pain-in-gymnastics-understanding-contributing-factors-and-tips-to-increase-mobility/


This post on wrist pain is broken up into 


1. Symptoms

Pain in the wrist originally assumed to be caused by 'weight bearing' - jumping back and/or floating up in my Ashtanga practice

2. Cause, Avoidance and therapy

Poor technique, hand placement/set up etc.
Articles by David Keil
also
Wild Yogi magazine

3. More therapy ( that cured the problem)

Massaging Trigger Points
inc. Susan Bysh's Trigger point protocol for avoiding pain in arm balanced etc.

4. Alternative cause

Washer woman syndrome doesn't sound as cool as Gymnasts wrist

NB: the videos in this post are just for illustration and can all be skipped

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Symptoms
My fb status update earlier in the week

I seem to have 'gymnasts wrist', or something like it, first time for me... anyone know how long it lasts and what worked for them for a speedy recovery. Probably came from switching back suddenly to full Primary in the shala after a year of half taken more slowly ie. twice as many jump backs. Not too big a deal I think and no problem adapting them out for a while but a little tiresome. - perhaps a blog post on this in the next few days

The Video below is probably a fair representation of how I practice Sun salutations in  the shala, there's some light on the hands to show my general practice/technique too. Further down in the post is the Krishnamacharya long stay approach I've been taking at home, one sury takes 12 minutes or so, less jumping but still a lot of weight bearing. This is the first time though that I've had this kind of wrist problem. 




Cause, Avoidance and therapy

First, an old Padmasana Jump through/jump back video.





My friends Illya and Mick sent some links to articles that look at possible causes and some therapy.

Thank you to Illya for this

Yoga therapy for the wrists
WILDYOGI.INFO
http://wildyogi.info/en/issue/yoga-therapy-wrists





Mick Lawton
Working With Wrist Pain in Yoga?
David Keil
YOGANATOMY.COM
http://www.yoganatomy.com/2014/03/wrist-pain-in-yoga/



In the article David looks closely at

Three Common Postures

Chaturanga

Upward Facing Dog

Downward Facing Dog

Particularly interesting to me is Chatauranga as in the Krishnamacharya approach I'm spending a minute in it.

David has a nice section in the article on hand placement and that has come up several times in the advice below. I notice that my hands are spread nicely so the weight is evenly spread and I tend to employ the pushing the ground away approach that Natasha mentions however  do seem to have this bad habit of having my middle two fingers together, bit like a three toed sloth (three toed sloths understand about slow practice).





Some good general advice from my friend Gilad 

Ilya's and David's info is very useful.

Sometimes we forget that

1. We are not getting any younger everyday .

2. The hands are intended mainly for micro and intricate movements, and not for weight-bearing jobs.MAINLY.

Just compare the hands and the feet, and note the weight-bearing sector, and also the idea that we are walking on feet, not hands.

Most likely, you are right - switched too abruptly into full Vinyasa after a long time of not doing that. And, the whole idea of Ashtanga practice being a"hand standing" practice is greatly exaggerated. PAIN IS ILLEGAL!

After all, it does produce suffering. 

Modify what causes pain, it's a good time for practicing Abhyasa and Vairagya .

Use a little soft squashy ball that fits in your palm, Palm open backwards on the table, and close your fist over the ball with moderated strength OBSERVING the palm.
Find out the right amount of repetitions.


And this from Stephan

I've recently been dealing with this as well, and I do believe it is linked in my case to "floating."

Like you, I employ long slow breaths, movements, and long holds.

I used a combination of Simon Borg-Olivier's mani bandha movements, some wrist warm up techniques, including something similar to what Paul Belizere describe (below), except I don't use newspaper, I just expand my hands and then make fists at a relatively quick but not too quick pace.

Finally, I practice the last ulpluthi on my fists.

I also massage extensor carpi radials trigger point (see below). 

Finally, I am one who takes seriously the gymnastics aspects of the practice and have begun more traditional gymnastics conditioning work to strengthen the wrists and avoid placing my shoulders too far forward over the wrist.

Additionally, I've also taken lots of time to integrate Simon Borg-Olivier's approach to using weight via leaning of the hips and armpits (as described in his 17 part video which you posted) to facilitate a more effortless press, pick up, and float.

In all it took about one month until I could press up again without pain, but some days it is still tender (so I take it easy on those days).


More Hints tips on Techniques and general practice came in...


from Chiara 

...try not to put all your weight on the wrist but to distribute it over the all hand. Sometimes if you look at how you press the hans on the floor you see that the base of the thumb and first (?) fingers are not used very much as support.


from Stuart 

Use more serrates anterior when jumping/floating and keep it out the wrist


and my teacher Kristina Karitinou 

Please keep the fingers open and apart.the thump must be away from the fingers and push the point between finger and thump strongly on the floor!


and also Natasa 
...always push the ground away (power comes from scapula) and change regulary the placment of the hand - use the fingers. Kristina tip is also very fine...Hope you feel fine soon.


Peg recommended David's ultimate cure outlined in  full in the article above

Ice bucket. hold in for 1-2 minutes at a time. more if you can stand but I'm a big baby and never make it !!


How I generally approach Suryanamaskara at home

Krishnamacharya may not have actually taught Suryanamaskara (except perhaps a version with mantras). He did outline longer stays in each of the asana that make up the sun salutation. The stays he suggested tend to be ten minutes or so, I usually practice ten breaths in each, around a minute at each stage.

The video below is of the Krishnamacharya type approach to Sun Salutations I tend to take at home with the longer stays - Yeah, it's actual speed, 12 minutes for one Suryanamaskara, akin to watching paint dry. i got all floaty for the video but don't tend to bother especially for just the one. In the shala this week I was having so much fun practicing the sury's again that I through in some general floatyness.





More Therapy and a bit of magic

I'd been looking forward to trying out David's ice bucked techniques but my dear friend Susan had me cured in ten minutes with trigger point therapy...


Trigger Point therapy


from Susan Bysh

Try massaging extensor carpi radialis trigger point, in the meaty part of the top of the forearm, near the elbow....
If that is tender then bingo.

And it worked, just like that! A few minutes messaging the trigger point and the pain was gone, I'd come back to it every now and again and especially in the morning before practice and all was pretty much well again. i didn't want to over do it so settled for just a couple of light sury's and and the first half of Ashtanga 2nd ( less jump back anyway), just stepping back and forth, had a nice practice.

https://www.realbodywork.com/learn/hand/wristE.htm


I asked Susan about the book I remembered her recommending a while back

The Trigger Point Therapy Workbook: Your Self -Treatment Guide for Pain Relief: Your Self-Treatment for Pain Relief Paperback – 2 Aug 2004
by Clair Davies
http://www.amazon.co.uk/Trigger-Point.../dp/1572243759




And here's some more from Susan about what's going on with trigger points.

I think the wrist ones are some of the more obvious and convincing ones…. it seems like magic at first, but then you become very aware of the connections between the two areas and it all begins to seem obvious…. yes this muscle moves that part of the hand, and if it seizes up in a moment of stress or becomes traumatised, I will feel the effect in the hand, of course'….
And then we have learned something about the body at a deep intuitive level. The beauty of it also is that one can test the other side - hmmm no hand pain and no tender spot in the muscle on that side, pretty convincing. Or, if the muscle is a little tender on the other side too, then we can take preventative action!!

So extensor carpi radialis for pain on the top of the thumb side of the wrist… and the other common pain area is the underside of the pinky side, and for that we massage flexor carpi ulnaris, both up by the elbow and also down nearer the hand where it gets kind of ropey/tendinous. With this protocol I have had no wrist trouble in a couple of years despite all the arm balances and handstands, I just massage FCU on both sides a little each day. 

Susan Bysh is an Authorised Level 2 Ashtanga teacher and an old friend, some may remember her excellent and much missed blog.
She teaches in London at Yoga place 
http://www.yogaplace.co.uk/early-morning-mysore-teachers/

Picture hasn't been changed on the website yet so how about this 'wristy' one.

Susan Bysh - Mysore : Photo by Alessandro Sigismondi of Digital Drishti

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More tips/suggestions came in that I would have liked to have tred but by then the problem was under control.... and Paul, what's a newspaper ( can I get the same effect from opening and closing my macbook)?


from Paul 
...take a large sheet of a newspaper in your hand by a corner and make a tight ball of it using just your fingers and the movement of your wrist, do that everyday with one or two sheets. It will strengthen all your digits' tendons, the muscle which activate the fingers in the forearm, thoroughly warm up and energise your hands and rid you of any pain (even carpal syndrome).


from Samantha 
I had a similar problem for years, after trying everything physiotherapists etc and nothing working I was advised by a friend and clever person to up my magnesium. I did and as well as calcium and vitamin d (plus a bit of natto for k2) after two months not a trace of a problem. The lump on my wrist has gone and even when I do things that would previously have caused pain for days nothing. Now it may just be coincidence and correlation is not causation but I'm fairly sure that's what helped my joint heal itself.


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However, it turns out it may not have been jumping back and forth, floating up at all. Which would make sense as I've never had a problem before and can assume my technique and general practice improved over the years with all the videos I've looked at and shared here.

Alternative cause


Washer woman syndrome doesn't sound as cool as Gymnasts wrist


fb update: I was checking my hand placement, general technique this morning and it all seemed pretty sound but then I realised the problem may just have likely have come from wringing out (tightly) my freshly rinsed yoga towel. It's only now I'm visiting a hotter shala again each day that I've needed to rinse them out right away. . the plot thickens.


I remember my grandmother having one of these.... now I know why.

Feel free to 'jump in' with a comment below  if you have anything to add. Even though the problem seems to be sorted out there's lots of good advice and suggestions here that somebody else might find useful. Feel free to look at any of the videos below and tear into my general technique and practice...

Afterthoughts 

In general, my own practice tends to be stripped back more and more as time goes on. Gone are most of the fancy flourishes I used to go in for, my jump through tends to be a little Sharath like hop and I'll often skip them altogether and slip into Vinyasa krama mode in certain sections of my Ashtanga practice. Practicing with longer slower breathing plus kumbhaka I tend to settle for the first half of Primary or the first half of Intermediate. Can't remember the last time I bothered with arm balances.

That said, all the fun, the flourishes, the general floatyness and party tricks helped me to build my discipline, helped at those times when the enthusiasm was flagging. They certainly have their place apart from selling workshops and promoting webpages. According to the Yoga for the Three Stages of life theory, in the first and second stages it's perfectly acceptable to focus more on our asana practice, our strength, health and fitness, to work on building discipline, exploring tapas, building resolve in yama and niyama and introducing pranayama and meditative practices. However, it's in the third stage of life that those later limbs will come more to the fore when we are  free from the burdens of the householder and can retreat to the metaphorical if not actual forest.


And besides, although I've posted this video from Jessica Walden several times before it still fills me with awe, the breath here...., the composure, it's almost enough to tempt me back to arm balances....


Where are they now? (mostly) Recent Videos/interviews with students from 1993 Sri K. Pattabhi Jois led Yoga Works Ashtanga demonstrations

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Right to left: Maty Ezraty, Eddie Stern, Chuck Miller, Sri K. Pattabhi Jois, Tim Miller, Richard Freeman, Karen Haberman

Coming across the excellent interview with Maty Ezraty yesterday I was reminded of other recent videos from the other participants in the 1993 Led Primary and Intermediate demonstration videos.


Students:

Maty Ezraty - http://www.matyezraty.com/

Eddie Stern - http://www.ayny.org


Richard Freeman - http://yogaworkshop.com/

Karen Haberman 


You can check out many of these teachers every year in San Diego at http://ashtangayogaconfluence.com 

This video can be purchased at http://www.kpjashtanga.com












As far as I can tell Karen Haberman is no longer teaching ( unless YOU know otherwise). A google search brings up so many students and teachers who mention that Karen was their first ashtanga teacher.


June 2015 Newsletter from Srivatsa Ramaswami—Events

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June 2015 Newsletter from Srivatsa Ramaswami—Events
I was in UK for 3 weeks doing three different programs organized by Steve Brandon of Harmony Yoga. The first was a 6 hr workshop on “Yoga for Internal Organs” at Jivamukti in London. It was well attended. It was based on my studies with m Guru on the six physical kosas. The human body is known as “Shat kaushika Sarira” or “six bags body”. These six kosas contain six vital organs which in turn sustain six subsystems to maintain vital functions. They are the heart and the circulatory system (hridaya losa and rakta sanchara). The lungs and the respiratory system (svasa kosa and the prana sanchara), the stomach and the digestive system (annakosa), uterus and the reproductive system (garha kosa ), bladder/kidneys and the urinary system (mutra kosa), the elimination bag (malakosa). Yoga has some very extraordinary procedures something unique to the yoga system like Kapalahati, the inversions, different pranayamas like ujjayi and nadisodhana all have very salutary effects on these systems. The workshop was to identify these yogic procedures and relate to these systems and the benefits these confer to the six kosas and the subsystems and also on the brain and the nervous system. I thought the program went well


I taught a five day 25 hour “Core Vinyasakrama Asanas” program for Harmony Yoga at the spacious Mahatma Gandhi Hall at Indian YMCA in London. All the 10 major vinyasa sequences were covered with hundreds of vinyasas and scores of asanas in each of the major groups. The participants were taught and they also practised many rounds of different pranayamas several times. The importance of breath oriented vinyasas was stressed. It was a well attended program with many coming from other parts of UK and especially also from Europe, like Sweden, Norway Netherlands, Luxembourg, France, Germany, Italy, Spain, Portugal, Ireland and then from the US.
Then at Wells, Somerset in UK was this 13 day Gita marathon. 13 participated fully in the program and a few attended the program for a few days. Bhagavatgita was one of the subjects taught by Sri Krishnamacharya which I studied from him. I had taught the Gita to a few individuals, but this was the first time I attempted to do this at one stretch the entire text. We did not follow any particular well known commentaries like those of Sankara or Ramanuja nor the contemporary interpreters. I based it on the teachings of my Guru and my notes. It was 5 ½ hrs everyday for 13 consecutive days. We went through every word of all the slokas/verses (700) in all the chapters (18). All stayed to the end. The reactions were somewhat mixed. Some were clearly uncomfortable with some of the teachings of the Gita but many on many occasions were happy and appeared astonished at the unique teachings of Lord Krishna to Arjuna. . The Gita is a Brahma Vidya and aims to educate ordinary people like Arjuna and us, the non-scholars about Brahman the ultimate reality as per the Upanishads. It is perhaps the most widely read works from India and has scores of commentaries, ancient and modern. But as many believe , the best commentary of Bhagavatgita is the Bhagavatgita itself, The Lord comes down to the level of non scholar like Arjuna so that one can understand the complexities of life, about oneself and the ultimate reality which is Brahman. The Gita is Brahmavidya and is also a Yoga Sastra or a treatise on Yoga. It was part of Krishnmacharya's teaching of Yoga. He would point out the several similarities of Yoga sutras of Patanali and Krishna's Gita. It harmonizes all yogas as Bhakti, Karma and Gnana and thus becomes a wholesome teaching of Yoga, this Krishna's Bhagavatgita..




Steve Brandon from UK underwent the 200 hr TT program several years ago at LMU. He also attended my programs in Chicago and then in New Delhi India. He has been teaching Yoga for several years and his Harmony Yoga has been successfully functioning for 10 years now. He judiciously combines his yoga knowledge with a his Ayurveda background and makes himself doubly useful to his students/patients. He has arranged programs for me in UK for several years. He was keen that I should teach in UK several of the subjects taught by my Guru. I have been able to teach Hatayogapradipika, Samkhya Karika, Yoga Sutras and the Bhagavatgita. As this would be my last trip to UK for doing long extended progras, I wish to thank Steve for affording me the opportunity to teach these subjects for his Harmony Yoga. He not only organized these programs meticulously but also brought in very dedicated and keen participants Thank you Steve and Sally.

I intend teaching an abbreviated program (25 hrs) of Gita in July/ August in LA for a few weekends during the time I will be teaching the 200 hr TT program in Vinyaskrsma at LMU. I intend to go through the entire text, verse by verse, if possible. Here are the details of the program contained in the brochure.


The Bhagavad Gita A 25 hour Immersion with Srivatsa Ramaswami Sri Krishnamacharya was a versatile teacher. In addition to yogasana`s he taught vedic chanting and several texts like the Yoga Sutras, Brahma Sutras, and of course the Bhagavat Gita. He truly lived up to his given name Krishnamacharya, meaning Krishna the teacher/preceptor. His teaching of the Gita had a unique depth and flavor as he was a practicing yogi, not just an academician. In this program the Bhagavat Gita (The teachings of the Lord) will be gone through completely chapter by chapter. It deals with the entire range of human experience and endeavors and the Lord’s guidance to everyone to go through life fruitfully and reach the ultimate spiritual state of Yoga. A young Ramaswami with Krishnamacharya
Srivatsa Ramaswami (76) was a student of the legendary yogi Sri T Krishnamacharya for over 30 years. He studied hatayoga, vinyasakrama, chanting of several chapters of the yajurveda, yoga sutra`s, and Sanskrit philosophical texts like the upanishad vidya`s from Taittiriya, Mandukya,Mundaka, Chandogya, Brihadaranyaka and others, samkhya, karika et al. He has published four book: Yoga For The Three Stages Of Life, Yoga Beneath The Surface (with David Hurwitz), Basic Tenets of Patanjala Yoga and The Complete Book of Vinyasa Yoga. Has also published more than 100 yoga related articles, released about 30 CDs on Sanskrit chants including yoga sutra`s, Surya Namaskaram. And has uploaded about 60 videos on chants, vinyasakrama talks on YouTube. Has been teaching for the last 30 years—including in India, and 10 years teaching the 200 hour Vinyasakrama Teacher Training Summer Program at Loyola Marymount University, Los Angeles. Additionally, several shorter programs in Chicago, UK, Canada, Mexico, India et al. At a Private Studio in Santa Monica, CA July 25/26~August 1/2~August 9 (5 days) Saturdays: 1-6PM, Sundays: 12:30-5:30PM $550 (A light chai service will be provided during the breaks) To inquire or sign up, contact: sarahmatayoga@gmail.com / 310-266-5177 Space is limited.

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I am planning to go to Austin, Texas and Los Gatos in California. Steve Ross attended my TT program at LMU several years ago and since then started and is now running a very successful Yoga facility in Austin Texas-- Eastside Yoga. I will be teaching there for a week starting June 12th.. I will be teaching a 4 hour workshop on Yoga for Internal Organs on the lines explained earlier and another 4 hour workshop on Vinyasakrama, an introductory program on vinyasas and asanas. Then for the week following I would be teaching Yoga Sutras 20 hrs for the word by word study of the entire text and chanting the Yoga Sutras for 5 hours.
http://www.eastsideyoga-austin.com/srivatsa-ramaswami-yoga-sutras.html/
During the later part of June I am planning to teach a four day certificate program on Vinyasakrma asana program at Breathe Los Gatos in California. This will be about 18 hours. Here is the link
Of course my main program will be my 200 hr Teacher Training Program at Loyola Marymount University where I have been teaching as a visiting faculty for more than 10 years now. This will be the last time I will be offering this major program at LMU even as I hope to be able to do shorter varied programs at LMU in the future. I have written about this programs many times before Here is the link
During my visits to India and UK, many participants mentioned about the difficulty of travelling to USA to attend the 200 hr Teacher training program and would ask me if I planned to do the 200 hr TT program outside USA. I may be able to do one 200 hr TT program in Europe or India if anyone would be able to organize it.
In September I plan to teach for a week at Chicago Yoga Center where I have been teaching almost every September for about 10 years. I will be teaching the week long Certificate program in Vinyasakrama. Then there is the one day workshop on Yoga for Internal Organs. I will be offering a new program on Samkhya, Yoga and Vedanta, which form a close group of sibling philosophies subscribing to the authority of the Vedas. They are called Nivritti Sastras or those that help one to get permanent and sure relief from the threefold misery human beings undergo without an end in sight birth after birth. These bodies of knowledge beautifully and logically present these tenets. The common goal of eternal freedom and subtle differences among these will be presented; all via the classical texts of Samkhya Karika, Yoga Sutras and the well-known Upanishads in this short program.
Best Wishes
Srivatsa Ramaswami
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